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But she is the ‘hero’, turning just another phone call with the client into a scene-stealing seduction act, and in a crazily adventurous stunt drive a truck without gas.Īt the same time, it’s unafraid to come across as politically incorrect in its somewhat stereotypical depiction of the character. Both come from not so affluent working families. He is smart and enterprising, turning his dim career possibilities as a child actor into the entrepreneurial idea of selling waterbeds. Even though Licorice is about both Alana and Gary, it is favoured towards her, calling out on his toxicity now and then. The film Anderson had in mind while making it is American Graffiti, a certain kind of guys-centric film. (“I’m not trying to pressure you”, “You are pressuring me”, “You are. Somehow, it’s able to walk the tightrope between being true to the seventies and looking at that kind of behaviour through a 2021 lens. Gary’s wooing is aggressive, his confidence winning. The scene goes something like this: Not-yet-fifteen-year-old Gary is trying to woo twenty-five-year-old – or so she claims – Alana. On the soundtrack is Nina Simones’ “July Tree”, a time-specific song. There’s a casual mastery behind the scene’s shooting style, in the freewheeling camera and the lovely, warm California sunlight.
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Even then, it’s hard not watch the opening sequence without a big smile on your face – a walk-and-talk meet-cute between the two young lovers, which has the kind of witty, flirtatious repartee of a Woody Allen romance (indeed, one of Anderson’s references was Manhattan). It is drifting and digressing, loose and shaggy, and defiantly anti what’s in vogue (closest to Anderson’s Inherent Vice than any of his other films, maybe Boogie Nights to an extent). You are more likely to enjoy it if you are a certain kind of cinephile. Licorice Pizza is Paul Thomas Anderson’s nostalgic, utterly charming, and at times melancholy, invocation of the past.