So I am writing about someone who himself is some institute of filmmaking, Paul Thomas Anderson. Looking at the plethora of critical acclaim his films earn every time his new work is presented, I waited this moment to watch his latest venture, Licorice Pizza. And I knew the spark is there, the spark is just there.
Two hours of beautiful feeling and those instincts of cold whispers amongst young bloods that brood or shroud the gospel of emotions from head to toe. A kind of blue-ish feeling when a young boy Gary Valentine (Cooper Hoffman) and a girl Alana Kane (Alana Haim) meet each other first time and try to reason the birth of those unaccomplished meetings. We have watched trillions of times but there is a way to make young kids take their chances, accept or refuse, make a joke out of it, or make a point out of all seriousness. Paul made us feel that in some boozy vibrance. A magnitude of spectacle.
The warmth of the chemistry proceeds like the flourishing pinnacle. The relation leads to thick surprises and their excitement being together is the epitome of the symphony. Even when they are not together, impatience grows. I felt a lot, a bloody lot, when Gary and Alana phone each other and say nothing. The depth of the story surprises and gives its whataboutery of awkwardness. I embrace the entirety of the intense moment when the cops arrest Gary from nowhere; what a spectacular shot when Alana runs and tells him not to worry, and the handcuffed Gary stares at her like a d***head.
Licorice Pizza also tests the complicated relationship in some situational comic moments that also occurs out of nowhere because life is so uncertain. Alana grabs the opportunity to gather with big boys and make Gary feel. The whole change in shift to the restaurant and that silly stunt was necessary as the story assumed that humans, in all complications, can reach different places reasoning and finding their own identity until they slip and realize. A kind of this scene may have never appealed but Paul’s writing about the complicated relationship of two confused kids was berzerk.
How smartly the gas issue was raised?! The film portrays California of 1973 and OPEC‘s oil embargo also occurred the same year. Bradley Cooper as John Peters was so perfect! Very impressive soundtracks were played. The Mikado hotel reference also hints that Paul did this on purpose to show the early years of the first Japanese restaurant in San Fernando Valley that approves meticulous writing. And why not? After all, Paul’s film aesthetics are usually centered around San Fernando Valley.
I loved the onscreen pairing of amateur actors, Cooper and Alana. Looking at their personalities and stature, they do not remind you of some ideal figures but the story of common people. Both made their debuts and how impressive were they. For Paul, this was a friendly project as Cooper is the son of late Philip Seymour Hoffman and Alana is an established music celebrity from the pop-rock band Haim for whom Paul has directed many music videos.
If the audience has ever loved Paul’s Boogie Nights, they will definitely love watching Licorice Pizza. Talk about a coming-of-age, raw buildup of young relations, desperate attempts of making money, and a few more, Licorice Pizza is an exceptional masterpiece.