The release of Paul Thomas Anderson’s “One Battle After Another” is stirring debate about whether art can be appreciated independently of its political implications. The film, inspired by Thomas Pynchon’s novel “Vineland,” portrays a tumultuous narrative reflective of a divided America. Shot in 2024, it arrived in theaters amid heightened political tensions, especially following Donald Trump’s return to office.
At the heart of the story is The French 75, a radical group likened to the Weather Underground, fighting against perceived authoritarianism. Their methods include breaking illegal migrants out of detention centers and targeting lawmakers with violence. Some might see this as justifiable rebellion, while others could label them domestic terrorists. This stark division in perception sets the tone for the film, which has the potential to resonate with audiences who align with its themes while alienating those who don’t.
The film features Bob, played by Leonardo DiCaprio, a character whose evolution from a zealous revolutionary to a washed-up stoner underscores a significant narrative arc. DiCaprio portrays Bob with a blend of humor and pathos, marking a notable departure from his typically polished leading roles. His comedic turn as a paranoid father, out of touch with the world, invites both sympathy and laughter. This performance is juxtaposed with Teyana Taylor’s portrayal of Perfidia, whose dedication to the cause comes at a personal cost, highlighting the complexities of commitment in radical activism.
As the plot progresses over sixteen years, the ex-revolutionaries face the haunting repercussions of their past actions. Col. Steven Lockjaw, played by Sean Penn, adds a layer of absurdity to the narrative. He embodies a bumbling yet menacing figure, motivated by desire and revenge, which spices up their conflict. Critics say Lockjaw’s humor and villainy bring an unusual balance to the film, making it engaging even for those who might reject its underlying political message.
Anderson’s experimentation with genre in “One Battle After Another” reflects his ability to pivot from serious drama to action thriller, showcasing not just his versatility but also DiCaprio’s willingness to stretch his acting chops. The collaborative effort between Anderson and cinematographer Michael Bauman delivers a fast-paced, visually dynamic experience, particularly during a tense car chase that encapsulates the film’s charging energy.
Jonny Greenwood’s score adds depth, enhancing the film’s overall intensity and providing an auditory backdrop to the chaotic storyline. Greenwood’s work has consistently elevated Anderson’s films, and this one is no exception. The music pulses with a rhythm that matches the film’s frantic pace, underscoring crucial moments without overwhelming them.
Despite its length, clocking in at 161 minutes, the film captivates and maintains engagement throughout. Critics have noted that its pacing does not drag, a testament to Anderson’s skillful direction.
The film raises critical questions about personal morality and artistic appreciation in a polarized environment. It may challenge audiences to reflect on whether they can engage with a narrative that contradicts their beliefs. “One Battle After Another” poses this dilemma explicitly: can the act of viewing transcend political alignment, allowing for an appreciation of cinematic craft regardless of a viewer’s stance? For some, the answer may lie in the quality of the art itself, irrespective of its ideological undercurrents.
At the end of the day, this film stands out as a discussion piece. It prompts viewers to think deeply about the interplay between art and ideology, offering a unique cinematic experience worth considering, if one is prepared to confront their own political biases. In the end, it may not just be another battle on screen but a reflection of the battles we face within ourselves.
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