One Battle After Another: PTA and the Death of Revolutionary Cinema
3 days ago
- #Paul Thomas Anderson
- #Hollywood Critique
- #Political Cinema
- Directors like Bertolucci and Pasolini became disillusioned with politics later in life, shifting from radical films to critiques of both left and right ideologies.
- Pasolini's 'Salò' is infamous for its depravity but also reflects his loss of belief in revolution while still sympathizing with revolutionary youth.
- Paul Thomas Anderson's 'One Battle After Another' contrasts with European militant auteurs, reflecting Gen-X skepticism and a return to apolitical craftsmanship.
- Anderson's film critiques Hollywood's collaboration with the military-industrial complex, questioning the authenticity of American political cinema.
- The film uses car chases symbolically, contrasting American muscle cars (representing Hollywood rebellion) with the utilitarian Tsuru (representing real revolution).
- Anderson explores themes of generational conflict, paternal protectiveness, and the cyclical nature of revolutions through characters like Bob and Willa.
- The film highlights the contradictions of revolutionary movements, showing how they often replicate the structures they oppose.
- Anderson's self-awareness and humor are evident in scenes where characters like Bob fumble through political confrontations, mirroring critiques of the director himself.
- The movie blends political critique with spectacle, using car chases and needle drops to convey its themes, a hallmark of Anderson's style.
- Ultimately, 'One Battle After Another' is a generational film that acknowledges its contradictions and the limitations of political cinema in Hollywood.