A Reel Review: LICORICE PIZZA

Paul Thomas Anderson, the heralded writer and director of acclaimed films such as BOOGIE NIGHTS (1997), THERE WILL BE BLOOD (2007), and THE MASTER (2012), has had great success in part by setting his movies in bygone eras; not just for the sake of nostalgia, but to let the time-period act as an actual character in the story. And that brings us to his latest trip back in time, LICORICE PIZZA. 

 

In the San Fernando Valley in 1973, 15-year-old Gary (Cooper Hoffman, son of Phillip Seymour), meets and falls in love with 25-year-old Alana (Alana Haim). Despite the age difference, they begin a friendship, and pursue business interests and potential acting careers. 

 

Written and directed by Anderson, LICORICE PIZZA is episodic in structure. The film moves from one “episode” to the next, changing gears often as Gary and Alana go through acting auditions, and business interests ranging from water-bed sales (the wave of the future!), pinball arcades, and politics. 

 

On paper, there doesn’t seem to be much of a plot, and the shifting of storylines can be off-putting. But the common thread through it all is Gary and Alana. Gary is crazy about her from the start, while Alana is more common-sense. But that common-sense goes out the window as the two progress and grow closer; their ups and downs reveal character traits, and the movie reveals itself as a journey of discovery and a coming-of-age tale. Despite the setting of the 1970’s, it feels very much timeless. 

 

The time setting is used to the story’s advantage. The Opec oil crisis comes into play as it destroys Gary’s water-bed business, and the simplicity of the time with no cellphones or internet makes the characters actually have to work to gain affection. Anderson writes, directs, and serves as his own cinematographer here. The film has a grainy, old-school film look to it, and coupled with some gorgeous set design…LICORICE PIZZA looks and feels like it came from another age. Nostalgia is used well, with a pop-culture convention attended by our water-bed salespeople a highlight; everything from the 1960’s Batman, Herbie the Love Bug, and Herman Munster makes quick appearances, and it is a delight to see. 

 

Also a delight is the acting. Cooper Hoffman is rock solid, and Alana Haim just lights up the screen. The film is packed with cameos and extended cameos with characters based on real-life Hollywood players. Bradley Cooper plays producer Jon Peters (producer of the 1976 A STAR IS BORN, ha ha), Sean Penn comes in as a loosely based version of actor William Holden, and John C. Reilly pops in quickly as Fred Gwynne of The Munsters fame. Also along for the ride is Maya Rudolph, Benny Safdie, Christine Ebersole, Harriet Sansom Harris…and an electric Tom Waits. 

 

The film borrows its odd name from a former record store chain in southern California. It serves as a metaphor for two things coming together that usually don't belong, but Anderson pulled it from his past. That, and the meandering-with-a-purpose style of recalling lazy summer nights and chasing true loves gives a signal that this Anderson’s love-letter to his past. It’s his most personal film, and one that is one delicious bite after another.

 

BOTTOM LINE: See it