How does “One Battle After Other” by Paul Thomas Anderson based on this modern classic novel?

Paul Thomas Anderson One battle after another is finally there, and yes, it is just as confusing, ambitious and starry as the trailers have promised. The Thriller full of action marks the director’s first collaboration with the Oscars winner Leonardo DiCAPRIWho plays the de facto protagonist of the film, Bob Ferguson, a former expert in radical explosives now raising a teenage girl in the northern sequoias of California, only to realize that the old errors are like temporal bombs. Sean Penn,, Benicio Del Toro,, Regina Hall,, Teyana Taylorand a newcomer Infiniti Chase Fill the gaps while Anderson’s tale takes care of the small town’s paranoia to sets of Adrenaline pumps worthy of a blockbuster of several million dollars, which the film hopes to become. PTA has turned from its path, in a bizarre way of the cinema for this passionate projectTaking almost two decades to shape history, working in a breathtaking budget of $ 130 million and sailing on the expectations of Sky-High Studio, while refusing to project film festivals, thus creating anticipation for what has become One of the most discussed cinematographic events of the year.

And yet, in the middle of chaos shots, car prosecutions of the desert and forgotten cryptic passwords, the criticisms turned their attention to the literary DNA of the film. Anderson’s last is inspired by the author Thomas Pynchon VinelandA sprawling and satirical novel about the idealism of the 60s and adults who failed to keep it alive, appear. Anderson has already exploited the reclusive engineering work with Vice inherentA black stoner dipped in the aesthetics of the thriller of the 70s which delivered the director’s favorite themes’ favorite themes. This film failed to land with the public, but this next adaptation – in the most loose sense – seems to have found a stronger thread to connect the themes of Pynchon with the aesthetics of AndersonWhile making it relevant for a new generation of moviegoers. So what, exactly, is Pynchon’s novel on, and how Anderson “stole” for One battle after another? Here’s what we know.

Within “one battle after another”, the 20 -year obsession with Paul Thomas Anderson

It could be easier to identify the similarities between Anderson’s work and Pynchon’s novel by focusing our goal on the film first. In this area, Bob Ferguson de DiCaprio is a stranded revolutionary In a effiloche bathrobe whose toxic memory makes each shade – and the ancient ally – a potential threat. He abandoned the cause of retiring in a small town in backwoods with his teenage daughter, Willa (Infiniti), in a trailer, only to find himself hunted by Colonel de Penn, Steven Lockjaw – A militarist tyrant with a very personal ax to grind. Del Toro embodies an ally to the offer of dojo whose discipline contrasts strongly with the chaotic existence of FergusonOffering both unexpected advice and complications. The film varies wildly between political satire, the thriller on the race, the drama of the intimate characters – it does not make sense that it would work. But Anderson has always had a skillful hand to balance seriousness with absurdity.

According to him, One battle after another was made 20 years in preparation, folding three of his obsessions for life – Car pursuit films, female revolutionary characters and pynchon Vineland – In one saga in roller coaster. It is a tribute part, part of the appropriation – and, as Anderson noted, fully blessed by Pynchon himself. But, after having previously plunged into pynchon with Vice inherentPTA wanted to circumvent strict fidelity here, say Squire,, “I stole the pieces that told me about and just started running like a thief.” One battle after another He certainly borrows the paranoid energy of the novelist and the thematic threads, lunching them in something entirely his, but there is enough similarity so that fans will probably take advantage of the other.

How the “vineland” of Pynchon inspired “ One Battle after the other by Paul Thomas Anderson ‘

Unlike Anderson’s film, which takes place surprisingly in more modern times, Thomas Pynchon Vineland unfolded in Reagan AmericaA world where the remains of radicalism of the 60s and government paranoia undermine everyday life. His story of Zoyd Wheeler, a burnout raising his daughter meadow, while dodging the ghosts of a failed revolution, was Satire and Elegy for a generation that could not maintain its own ideals. Anderson One battle after another Choose Pynchon’s pocket there – Bob de DiCaprio inherits survival instincts bristling with Zoyd, while Willa chanages the disconnection and contemporary prairie anxiety. The two stories ask the same question: How does a generation pass the torch to the next?

But Anderson unleashes his film from the Reagan era policy and reposition activism in the 1990s and beyond migrant detention centers, abortion clinics and state surveillance which seems uncomfortably real. This change is important: It transforms the Gueule de Bois Generational Pynchon into a conversation starter on the power, the protest and the cyclic nature of the Resistance. Vineland I did not perform well with criticism during his first outing – it was too premonitory and not pynchonian enough for fans of his past work. But that is what does it – and the film that it is undoubtedly inspired – is worth a closer look today. If anything, our current troubles are only positioning us as more grateful to both the book and the main premise of Anderson’s film: what it means inheriting, waste or revive the unfinished battles of the past.

One battle after another Now play in theaters.