Paul Thomas Anderson, director of "Phantom Thread" and "There Will Be Blood" in his latest film Licorice Pizza takes a free and memorable trip to Los Angeles in 1973 and tells the story of an unusual love affair between a 20-year-old girl and a boy on the verge of adulthood.
Kane (played by rock singer Alana Haim) is actually watching his reflection to the end. And he does not do this out of narcissism, he wants to know exactly what the world sees when he looks at him. The narrow curvature of his nose. His ocean blue eyes, which are a little closer together - is what we see in him lust? Or intelligence? Or despair? In one of the film's key sequences (and, of course, the best), Alana looks in the rear-view mirror as she tries to drive back and forth on one of the city's narrow, winding roads. This is a temporary metaphor of his own existence; A metaphor in which the concept of puberty is a logical puzzle that uses all of Alana's energy to find the answer. Like all Anderson films that are typically nerve-wracking (after all, he is the creator of muscle spasms like "Blood Will Rise"), this film has a valuable and, of course, unfortunate feature that fails to reconcile childhood and adulthood. It is portrayed as a sign of emotional honesty. Alana is in her mid-twenties, is a high school photography assistant, and still lives with her relatively distraught family. Apart from Alana Haim, who plays Alana Kane, my sisters actually play members of their trio, and her parents play family members in the film.
Alana Haim as Alana Kane, a 20-year-old girl looking for the concept of adulthood in the face of adolescence./p>
His ocean-colored blue eyes see Gary Valentine (Cooper Hoffman) in the reflection of a hand-held mirror. It's school photography day, high school, and Alana Kane, the assistant photographer, holds a mirror for the students standing in line to tidy up their appearance. Gary immediately proves his naughty raw smile on Alana. Cooper Hoffman is the son of the late Philip Seymour, a close colleague and friend of Anderson. But Hoffman's strengths do not lie in his father's spirit, but in his differences. Gary is a childish actor with the accent of a car dealer who has the silly but non-poisonous ego of someone who has never had to think deeply and reflect on it in his life.
Although Alana is clearly a high school Gary. He is an adult, at first they touch his chest, but he enjoys his self-confidence so much and earlier than his age that he suddenly sees that he is attracted to him and his friendship with him. On the other hand, it is obvious why Gary is so fascinated with Alana. Alana Haim depicts the same subconscious magnet that has always characterized her band, an unpretentious cold-blooded rock star with straight straight hair, curved shoulders, and a dumb mood of celebrity kids.
Like liqueur pizza "Once Upon a Time in Hollywood" by Quentin Tarantino takes place in the heart of the cultural change of the city (Los Angeles) in the middle of the last century. In 1973, Los Angeles was still reeling from the aftershocks of Manson's assassination (referring to the murder of Sharon Tate, pregnant, director Roman Polanski's wife, and their friends in their private home at the hands of the Mansons's Tarantino parodyed "Once Upon a Time in Hollywood"). And at the same time, successive waves of rebellious filmmakers shook the foundations of the film industry. It may come as no surprise, then, that Anderson and Tarantino, both beloved independent children of the 1990s, felt the urge and need to revisit that period. These are the filmmakers who are at the crossroads at the moment; Somewhere between online distribution giants and corporate mergers. The only thing they can hope for right now is a bit of revived genius, which, for example, shows well in Anderson's latest film, Gary, when the oil crisis ends his teenage business of selling water mattresses. (Where Alana frowns and tells her that plastic is made of oil.) The cinematographer adorns each frame of "Liqueur Pizza" with the warmth of last summer; He was less naive than Tarantino in portraying that period. Alana gradually realizes that emotional idealism is often opposed to cyclical frustration. The men who are attracted to him are placed; Whether it's Jack Holden (fictional, but obviously based on William Holden), the naughty actor played by Sean Penn in the film, or Bradley Cooper, who plays the real character of John Peters, the film's producer and former singer and actress Barbara Streisand's lover.
But, in that first image of a mirror reflected in Alana's hands, Alana does not actually see her, she sees her own gaze. But what we're really watching is looking at things, because in this narrative, Anderson has lovingly used the experiences of his friend - and former child actor - Gary Gutzman. And this placement of "Pizza Liquor" in the realm of adolescent memories seems to be more of an excuse for the filmmaker to go through that memorable period than selfishness.
Fascinated and confused and engrossed in poetic thought, he focuses, but gets to the point where Anderson simply surrenders and succumbs to Gray's boastful fantasy. Where Alana stands exactly from that point on does not seem to matter; This destiny is good enough to be easily seen and admired, even if all that is really understood [from the story and the image] is just a reflection.