Episode 13.5 - Punch Drunk Love Review - 7/10

Punch Drunk Love - 2002 - Paul Thomas Anderson

I don't know what it is about films that try to classify themselves as “art pieces” just because they're indie. They experiment with weird lighting and little post-production tricks to pass themselves off as visionaries when the true visionaries know how to properly implement them into a story so they actually feel intentional, instead of force fed like a crappy joke into a movie I watched two days ago. (Again, two days to be pissed at a movie rule, still in effect)

Punch Drunk Love does just that, mixing in a rather impressive character development story with sparkly things and hippie sounds because film festivals still cater to those coffee-pouring whack-jobs who just go to be “moved by something.” Starring Adam Sandler and pretty much nobody else, Punch (or should I use Drunk for short?) takes you on a slightly uncomfortable roller coaster ride through the emotional transformation of a socially inept novelty salesman as he finds love, sparkly things and hippie sounds.

Barry (Sandler) isn't a fan of people, but has come to terms with the fact that he has to live and deal with them on a daily basis. He does his best even though you can tell he's uncomfortable with the idea. He likes to stay isolated and avoids social situations unless absolutely necessary, which usually means “because his 7 sisters are forcing him to get out there and do something.” He's not great at speaking and can't help but let out physical rage when he finds himself in situations that he doesn't know how to handle or get away from. Maintaining emotional control is exhausting and it shows.

This is not Sandler's forte, but also perhaps why he does so well with the role. It's like the movie producers told him “Adam, take everything that makes you who you are...and don't do it.” What results from telling Adam to hold back from screaming “Abbie Doobie” and making googy sounds like a white Bill Cosby is a twitchy, reserved mental patient who walks around like a bobblehead doll going through drug withdrawals. I didn't think Sandler had it in him, but he pulled it off well.

With this emotional instability comes a man who finds fascination in anything that can occupy his interest, though he doesn't know what to do with it. He finds a harmonium that he keeps toying with until he's told that it's not a piano. He becomes obsessed with a loophole in a Frequent Flyer Miles promotion with no clue...or desire to go anywhere with them. These distractions keep the real sadness of his mental state from consuming him so he isn't depressed and mopy. It's almost sweet and charming, like a 3-year old discovering the Flintstone phone.

Also keeping his attention is Lena (Emily Watson), the love interest who never gives any legitimate reason that she is so attracted to Barry, but carries on with the non-stop “I did this with the hopes of meeting you” schtick because it's this love interest that will ultimately change Barry's life for the better in the end so we just have to accept it. There's no depth to her character but perhaps that's why Barry gives her a shot and stays attracted to her; he just shouldn't be around things that are complicated. As this love story progresses, Barry, compelled to see this work begins to gain control of his emotions and we start seeing hints of stability trickle into his psyche. I appreciated that Barry's character didn't change, just the handling of it did. Too often are the revelations of personal flaws so over-emphasized by the end of a movie that the protagonists come across as phony, their personas too easily manipulated, and I worry whether or not I would still like them if the movie carried on a little longer. Punch Drunk Love plays it safe and smart.

The change that we see in Barry doesn't get displayed through this relationship, but in the form of a “not sure if it was designed to be humorous” side plot with a phone-sex line that tries to blackmail and eventually beat money out of him. It just didn't really fit comfortably in the film, in my opinion, however it was intriguing to watch Barry change from the uncontrolled, manic, uncertain victim to a man not afraid to take charge of those situations designed to take advantage of the weak-minded and strong-willed.

As I mentioned, this film was an indie film which means it tried to add some artsy transitions and “music that makes sense when you're high” (it really should be its own genre). Didn't really need to go there and just messed with the pace of the film like when Batman's head zooms in and out of the screen. Some movies are able to make it work, this one didn't and we were uncomfortable enough and I was ok with that because the character was uncomfortable; that was the point. Whatever...

I chatted about it with Carlos who just said “Bwah” which was exactly what I was thinking. 7 dustbusters out of 10 and a small kudos to Sandler for not annoying me to the point of drinking.