Punch-Drunk Love . A Paul Thomas Anderson Picture
He Needs Me Lyrics: And all at once I knew / I knew at once / I knew he needed me / Until the day I die / I won't know why / I knew he Album Punch-Drunk Love (Original Motion Picture Soundtrack). 1. 5 He Really Needs Me by Jon Brion. "He Needs Me" is a cover of the Harry Nilsson song, originally sung Listen to " He Really Needs Me" from the Punch-Drunk Love soundtrack. It is with Punch-Drunk Love that this gifted and original young filmmaker Love is Anderson's use of one of the keys songs of the film: "He Needs Me", sung by combines the unique song (from an Altman film that is not a very memorable one) One other example can be seen after Barry first meets Lena at the garage.
He works at a lowly warehouse as a plunger salesman, where he goes from one asinine phone call to the next. Barry is a man swimming against the current heading nowhere, with no clear path or direction, no stability or certainty.
As movies continue moving more toward the block-busting, movies-as-rollercoaster-rides, Anderson remains happily devoted to his particular blend of people-centric cinema. His genius lies in turning character into cinematic marvel, and with Punch-Drunk Love, Anderson created a whole new genre of Adam Sandler movies. Where Barry generates his laughs is in his frustrated physicality reminiscent of Jacque Tati, and his behavior, and the very fact that he has difficulties with communication.
Emily Watson, as Lena, speaks so well with her love-locked eyes.
Rarely are emotions, and their transformations, so explicitly shown. For Anderson, quite literally in Punch-Drunk Love, emotions are special effects. Anderson has also shot several dreamy music videos for Radiohead.
A Space Odysseya seemingly random object glowing in big fat vibes of mystery, making Barry somewhat of a head-scratching-monkey. When he first encounters the harmonium, after a truck drops it by the curb in front of his work, Barry stares at it in a two-shot showdown.
He then picks it up and runs it inside as if it were seconds away from exploding, dropping his coffee mug as he see-saws and sways his way back to work.
Is the landing of the harmonium a symbol of the love about to walk into his life, is it a symbol of the impending phone-sex scandal, is it a beacon of change, or is it nothing at all, a gift delivered to the wrong address, picked up by a paranoid, blue-suit-wearing pudding-buyer?
Good example of the wonderful and weird: Sandler punches a wall in his rage--and immediately starts whimpering in pain. If you look closely at his knuckles, the cuts spell out L O V E.
I'm not kidding--go look. I understand that it's old-fashioned stylism, but it sticks out like a sore thumb.Punch-Drunk Love: How to Write a Romance - Video Essay
A sore, pretentious thumb. Also, can I just say? I love Emily Watson, and she's very good here, but I kept asking myself what she saw in this Barry character anyway. Not because he isn't sympathetic, but because she's not privy to those moments of pathos the way we are: She basically spies his picture on his sister's desk and becomes desperate to meet the guy.
No offense here, but--particularly in this movie, with that stubble of hair--Adam Sandler's an average-looking guy. Not the kind of face that's going to drive you to lie, scheme, and overlook violent acts to get with it, you know? And her Lena seems quirky, a little overeager, but reasonably well-adjusted. What I'm saying is, I don't so much want a "reason" why she likes him as I just want more information about her character, her personality, her life--a better sense that her idiosyncrasies dovetail with his, the foundation of many a great romance.
For you Paul Thomas Anderson defenders, here's a thought: That's what I'm talking about.
However, that is not to say the film is not without it's cinematic influences. The most notable influences lie within the French New Wave films of the s and ss Hollywood musicals.
Rather then being direct influences, Anderson captures the spirit of these films with Punch-Drunk Love.
Maybe the definitive display of using influences for Punch-Drunk Love is Anderson's use of one of the keys songs of the film: Here Anderson perfectly combines the unique song from an Altman film that is not a very memorable one with the beautiful score by Jon Brion as well as the emotional longing of the leading characters Barry and Lena. While not directly referencing Popeye, Anderson is using the song in an entirely new perspective and ultimately redefining how the song is remembered while still being respectful of the original source, and one of his favorite filmmakers- Robert Altman.
Here is perfect example of Anderson's subconscious or indirect use of influences. A moment in which Barry Egan, out of frustration from being denied the immediate use of his Healthy Choice promotion of Frequent Flyer miles so he can visit Lena in Hawaii, punches his office wall. He then begins to cry before reaching out to the harmonium which will be discussed more in the future.
It is then revealed that his knuckles are bleeding and spelling out L-O-V-E. While this would seem an obvious homage to the classic masterpiece Night of the Hunter, or even Spike Lee's brilliant film Do the Right Thing which itself was directly homaging Night of the Hunterhere it is done with it's own expression.
The original working title for the film was Punchdrunk Knuckle Love, and it would appear that this moment was not a direct reference, but rather one of it's own in capturing the visual emotion of the films themes.
Throughout the film in all but two short moments Barry Egan is seen wearing a blue suit. It is unknown whether the reference is direct or not, but Punch-Drunk Love captures much of the spirit of the French New Wave and Godard's playful and stylish film.
Lena is seen in a variety of different colored dresses which blend with Jeremy Blakes artwork, and the color themes of the film.
Among them are the beautiful scenes in Hawaii where Barry and Lena "relocate" more on that later. Here Lena is seen wearing a lovely white dress which recalls that of the stunning Cyd Charisse in Vincente Minnelli's musical masterpiece The Band Wagon Anderson is sharing the sprit of those films be it with direct or indirect references while still expressing Punch-Drunk Love's images, themes, and emotions.
Colors play a critical role in Punch-Drunk Love's expressionism this topic will be further discussedand the white dress and blue suit capture this. Perhaps the films most direct references comes from the wonderful Francois Truffaut film, Shoot the Piano Player. Aside from sharing much of the French New Wave style and even some of Shoot the Piano Player's storyline, Punch-Drunk Love contains a couple notable homages to the film.
Among them, is Emily Watson's mysterious character Lena, who un-coincidentally shares the same name as the mysterious woman who loves the piano player Charlie in Shoot the Piano Player. Also, Anderson subtly homages the opening sequence of Shoot the Piano Player in which Chico brother of the films man star, piano player Charlie is being chased by two gangsters.
Punch-Drunk Love - Movie Reviews - Rotten Tomatoes
The scene is referenced in Punch-Drunk Love when Barry is attacked by the four blonde brothers who were sent from Utah by Dean Trumbell "The Mattress Man" and owner of the phone sex business. Another key similarity can be found within the work of French filmmaker, Jacques Tati. Tati mastered comic satire and slapstick, particularly through the use of objects and surrounding environment. His films often contained very little dialogue, and like Punch-Drunk Love used visual environment and sound to capture emotion and expression.