Licorice Pizza

The meaning of life through love is an inexplicable feeling. Growing, driven by desire and passion, is often an odyssey full of pain, yet the sensation remains enjoyable. This premise underlies the plot of Licorice Pizza, the latest production by the great Paul Thomas Anderson (There Will Be Blood (2007); Phantom Thread (2017)). The film, which I personally consider the best of the recentry concluded year 2021, showcases the directro`s narrative skill-while not his finest work, it surpasses most of its peers.

Set in the 1970s (an era Anderson is fond of revisting), Licorice Pizza tells the story of two young people who meet, grow together, and discover love as well as maturity in a small Los Angeles town. Although at first glance it seems like a simple, casual coming o age romance, this is where Anderson`s ingeluity shines. Each scene perfectly frames its intended message, avoiding the risk of losing the protagonists in a potentially convoluted script. The story unfolds linearly in short fragments- vignettes that evoke both sorrow and joy. The extensive use or intertextuality enriches the production, and far from feeling tedious, it strengthens its narrative impact.

Paul Thomas Anderson often gifts us protagonists with fascinating psychological depth, usually marked by their susceptibility to influence. Their character development is richly protrayed. allowing actors to deliver memorable performances. Licorice Pizza is no exception. Cooper Hoffman (who seemingly inherited the talent of his late father, the grat Philip Seymour Hoffman- alongside Daniel Day-Lewis, a frequent collaborator of Anderson) and Alana Haim both give outstanding performances, especially in expressing the subtleties of changing moods and harmony in their roles. The rest of the cast measures up, particualarly Bradley Cooper, whose comedic timing is always delightful. Other stars like Sean Penn and Tom Waits also shine, a testament to the film´s balance- none of their appearances overshadow the story, but rather add a sense of dreshness and clarity.

Thiss film is an ode to love, certainly, but itñs also a carefully woven tapestry that becomes a memorable work of art. Licorice Pizza takes us on a nostalgic and satisfying journey, enhanced by spectacular set design that never betrays its 2021 origins. The soundtrack plays an essential role, pulling the audience into a feedback loop with the screen and immersing them in the journey. This voyage is also supported by meticulous cinematography (helmed by Anderson himself), alternating between long and short sequences to match the film`s dynamic storytelling.

That dynamism may be the film´s most criticized feature: despite its lengthy runtime, the story unfolds rather quickly. The film has two distinct halves, with the first clearly stronger than the second. Whether this was Andersonñs intention or a spontaneous cinematic impulse, the disparity in quality between the two halves leads me to conclude that Licorice Pizza isn´t one of his best works. A pity, really, as it showed great promise-perhaps even strong enough to contende for his greatest piece. But like any artistic genius, Anderson delivers whith Licorice Pizza not his masterpiece, but a creation that will linger in the memory of its viewers. A stunning aesthetic experience, and though it lacks the precision of Jane Campion´s The Power of the Dog (2021), it offers a visually captivating spectacle thatñs hard to resist.

-Thiss text was originally written by Carlos Javier Valle Díaz and is publiched with his express permission.-