Punch Drunk-Love Review
Posted by Jacob Ziegler on 10.28.2002
Adam Sandler proves that he can in fact turn in an excellent performance in a film of substance!
Punch-Drunk Love
Release Date: October 11th, 2002
I have been a big fan of Paul Thomas Anderson since I first saw Boogie Nights when it came out to rent, and became an even bigger fan after Magnolia came out. I of course then familiarized myself greatly with both movies over the years, and even got to know Anderson’s first film, Hard Eight. All are excellent, high-class films with meaning, messages, and great acting. So when I heard that Anderson’s new film was to be a ninety-minute comedy starring Adam Sandler, I cringed just a little bit. But the more I heard about the film, the more interviews I saw with Anderson and Sandler, and the more reviews that came in, I realized that I should trust Anderson and go see his latest film. It certainly lives up to all the hype.
Sandler plays Barry Egan, a single, thirty-something male whose job is selling novelty toilet plungers. He has seven sisters, who constantly berate and abuse him, especially while he is at work. Barry, trying to escape the monotony of his work, discovers a loophole in a Healthy Choice promotional deal that awards frequent flyer miles in exchange for purchase of their products. He admits that he has never and does not want to travel, he just wants to take advantage of such a generous offer.
This is but one of the many intricacies of a wonderfully written and performed character. Sandler’s Barry displays many emotions and elements from prior characters he has played, like sudden outbursts of anger, timidness, vulnerability. But never has Sandler put them together into such an interesting character. “I hate myself, and I often burst into tears for no reason at all,” Sandler confides in one of his brothers-in-law, after smashing out all of his patio windows. Some of the other things Sandler does are funny, some tragic. I do not want to reveal many of them here; half of the fun is the film’s sense of spontaneity.
The film is unique in that it takes two different directions, but both mix with each other very believably. In fact, after Boogie Nights and Magnolia, only having two stories to work with is a step down. One involves Barry’s blooming relationship with Lena Leonard, played beautifully by two-time Oscar nominee Emily Watson (Breaking the Waves, Hilary and Jackie). Their relationship is a pleasure to see unfold, as the two actors both portray insecure characters that are obviously meant for each other. On the surface, this portion of the story seems quite conventional, as the two lovers at first are kept apart due to their insecurities, and it seems obvious that they will end up together in the end. I will not reveal what does happen, but rest assured it is a pleasure to get there.
The other story concerns a series of mishaps that occur after Barry, feeling very lonely calls a 1-800 number to talk to a woman. While I would rather not reveal too much, the woman ends up trying to take advantage of Barry, ripping him off for hundreds of dollars, which as Barry explains, is a lot of money for him. This is the section of the story that Philip Seymour Hoffman is involved in, but his part is too fantastic to spoil for the audience, it is much more fun to simply discover him along the way.
That, in fact, is the biggest strength of Punch-Drunk Love, and all of Anderson’s movies for that matter: they are completely unpredictable. As I said earlier about the love story, it could have gone so many predictable routes, but it does not take any of them; Anderson carves his own path through his movie-world, and seldom have I been disappointed with the results.
As for the acting, they are all outstanding. Anderson regulars Philip Seymour Hoffman and Luis Guzman turn in their usually great performances, and Emily Watson shines in a romantic role. But it is Sandler who truly carries the movie. He displays depth and skill as an actor that one could have suspected he had in him, but seriously wondered if he would ever reveal it. Barry is such an odd, unique character, and I cannot really imagine anyone else in the role. Sandler brings the rage simmering beneath the surface that comes out in several wonderful moments, but he also brings the tenderness and sincerity that he has yet to display on screen. While I do not think Sandler will be a front-runner for the Oscars later this winter, he certainly showed the kind of performance he is capable of, and hopefully will not abandon in favor of roles like Happy Gilmore, Billy Madison, and The Waterboy.
The 411: Paul Thomas Anderson sure has a winner on his hands here. Unfortunately, on my way out of the theater, I heard three people say “this was the worst movie I have ever seen.” I think they expected a typical Adam Sandler film, and Punch-Drunk Love is certainly anything but that. Anderson has yet to go astray in his four-film career, and his diversification helps illustrate what an amazing talent he is.
