Historical Newspapers of South Carolina

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Special to The Gamecock Jim Kuning (John C. Reilly) and Claudia Wilson (Melora Walters) become love interests in P.T. Anderson’s “Magnolia” 'Magnolia' gets mixed reaction by Patrick Rathbun Gamecock Critic “Magnolia” has been described as a “near mir acle,” and this may be closer to the truth than ac tually being wrong. This film is up and coming Director Paul Thomas Anderson’s third effort (“Hard Eight” and “Boogie Nights”) and his grandest undertaking to date. Anderson is extremely successful in most directo rial aspects of the film, but lacking in others. For example, Anderson brilliantly inter twines the lives of several idiosyncratic characters living in the San Fernando Valley, but has issues in editing (Sorry, P.T., but there’s no excuse for three and a half hours). 1 ne ensernme cast oi tne mm serves co sirengui en its narrative. Most of the gang from “Boogie Nights,” including William H. Macy, Philip Sey mour Hoffman, Julianne Moore, John C. Reilly, Melora Wallers and Philip Baker Hall, all return with memorable results. The mere return of much of the solid cast from “Boogie Nights” tells us there must be something special about tins director. Tom Cruise and Jason Robards round out the cast with terrific roles. The movie’s acting is definitely not its weakness. And through nearly three hours of the film, I thought "Magnolia” was bound to go down in movie history. Its stories or vignettes are Altman-esque and I’ve heard comparisons to both “Nashville” and “Short Cuts.” I’d describe Anderson’s collage of imagery and narrative as works of art, with much intricacy and even more potential. I sat captivat ed, unable to blink for the first two and a half hours, and after the final hour 1 was speechless, unable to express the range of emotions I went through in the theatre. So, Anderson must have been at least semi-suc cessful in his endeavor because I know I felt many emotions during the film, and I never had the urge to walk out. Keeping my attention for three and a half hours without any hint of confusion is an accomplishment in itself. I know “Magnolia” accomplished another es sential movie requirement. The movie is still in the back of my mind now, so it did what we ask of movies: “Magnolia” forced me to take its messages, queries and themes home with me. It wasn’t just entertaining for its theater duration, its complexi ties circled through my mind again and again, weeks (and possibly months and years) after I saw its cred its roll on the screen. I am not one to shy away from epics, but I can’t understand why directors choose not to do any cut ting when the same message could’ve been deliv ered in much less time. I would recommend seeing “Magnolia” because its strong points are just too good to miss. Even if you aren’t a big fan of “Boogie Nights” (I wasn’t), you should still see it. The wonderful acting by it self is enough reason to see the film, and Ander son’s genius interweaving alone is good reason, too. I would also recommend preparing yourself for the unordinary if you intend to see it. At the end of “Magnolia,” a few conclusions came through to me. The first idea is that Ander son’s future looks extremely bright, and the sec ond thing is that if he wants any of his future films to be remembered as “miraculous,” he must learn how to edit. Ratings: Patrick Rathbun: 3 of 4 stars Kenley Young: 2 Robert Fleming 3 1/2 Kevin Langston: 2 1/2 'Cider House' opens its doors by Boyd Fulmer Jr. Gamecock Critic In an adaptation of his book, John Irving pre sents the story of a young man trapped in his own world. Dr. Wilbur Larch (Michael Caine) runs the orphanage in which Homer Wfells (Tobey Maguire) is bom. As Homer grows up, he receives a thor ough education from Dr. Larch through helping him run the orphanage. Dr. Larch tries to provide a good life for the orphans while struggling with his own downfalls, such as an addiction to ether. Dr. Larch provides “good night you princes of Maine... you kings of New England” every night, illustrative of the same meticulous manner in which he runs the orphanage. As he grows older, Homer struggles with him self every time he has to help perform an abortion. As he lives in the orphanage, he becomes well-ed ucated in what he does, yet he dreams of seeing the world. This chance is provided by one of his patients, Candy Kendall (Charlize Theron), and her ser viceman boyfriend, Whlly (Paul Rudd). As he leaves with them, they take him to see a tew ot tne tmngs ne nas never seen. Homer gets a job on an apple/cider farm where he en counters the crew that will teach him much about the simple ways of life. The ending of the movie is foreshadowed in the simple ques tion asked by Mr. Rose (Delroy Lindo), the head of the season work crew: “What exactly is your business, then?” In this movie, Irving tries to ask the audience several questions. He touches on the abortion issue, which is revealed through Homer’s everyday battle^ on whether he should handle the next patient or the next film splicing. He draws on the 1930s legal conception of this problem and what an average person would think. Irving also delves into the issues on the effect of young men leaving for war and how this would affect the everyday lives of those who care for them the most. During Wally’s absence, Homer looks at Candy as the most beautiful person he has ever seen. He is immediately forced to deal widi his lack of emotional growth in dealing with women. Every part of his life, up until she arrives, has been centered on taking care of the children in the orphanage. This is one of the pivotal things that Homer ponders throughout the film. This movie is one everyone should see at least once. The way it unfolds made me want to find out what else Irving had to sacrifice in making this movie last just more than two hours. In that time, Irving is constantly jumping from the orphanage to the cider house. This allows the audience to see the effect that Homer is having in both “worlds.” Rating: Boyd Fulmer Jr.: 3 of 4 stars Special to The Gamecock Tobey Maguire plays Homer Wells in this story of growing up. 'Next Friday' leads box office by David Gearman Associated Press Los Angeles The friendly mouse has given way to the neigh borhood bully. “Next Friday” starring Ice Cube as a man on the run from a vengeful bully, bumped off the reign ing box-office champ, the mouse tale “Stuart Lit tle” according to industry estimates Sunday. The sequel to the 1995 film “Friday” took in $14.5 million Friday through Sunday. The movie has grossed $19.1 million since opening Wednes day. “Next Friday” drew well among 18-to-25 year-old white crowds, too, said David Tuckerman, head of distribution for New Line, which re leased the movie. 1. “Next Friday” $14.5 million. 2. “Stuart Little” $9.7 million. 3. “The Hurricane” $9.1 million. 4. “Girl, Interrupted” $8.2 million. 5. “The Green Mile” $7.5 million. 6. “Galaxy Quest” $6.6 million. 7. “The Talented Mr. Ripley” $6 million. 8. “Supernova” $5.7 million. 9. ‘Toy Story 2” $5 million. 10. “Any Given Sunday” $4.8 million.