By Max Kyburz
A man in black suit, well beyond his years but with a strong voice, offers to give you a cigarette and buy you a cup of coffee. He then offers you a bit of money and tells you that he can make you rich. The old man’s name is Sydney. He never gives his last name, but it is learned that there more mysterious facts to be discovered about this peculiar character. His motives are unclear, but he seems trustworthy. The question is, what do you do?
This question, among numerous others, are the basis for Hard Eight, the debut feature film of Paul Thomas Anderson. This is a rare film; it’s not very often that a young director’s first feature length film excels as well as the rest of his filmography. P.T.A. has been hitting home runs ever since this film was first released in 1996, which makes it difficult to determine which of his films is best. I rank Hard Eight pretty high up there, and not just because it was Anderson’s first time out.
It’s a gripping crime drama that is unique in its ability to thrill without overstating itself. It’s rich in character and storytelling, and it doesn’t take the easy way out by inserting implausible chase scenes and shootouts. Hard Eight is filmmaking of a high caliber and patience, and while it may not be for everyone, it’s definitely directed toward those who are sick of Righteous Kill-brand crap that’s plaguing multiplexes everywhere.
Most crime films contain a protagonist whose desires and prejudices are known from the start, but Hard Eight is not such a film. What thrills us about it is our quest for such knowledge about the mysterious Sydney, even though we may not get exactly what we were expecting by the end. Hard Eight establishes PTA as a director who does not always cater to the mainstream audience, and if you don’t believe me, watch Punch Drunk Love and There Will Be Blood.
Sydney is played by Philip Baker Hall, who may not be a recognizable name, but surely you’ve seen his face before. Seinfeld fans remember him as the library cop named Bookman (like an ice cream man named Cone), and others may remember him in films like Rush Hour, The Insider, The Truman Show and Zodiac. Those already familiar with Anderson’s catalog will remember his memorable cameo in Boogie Nights and his powerhouse portrayal of an ailing game show host in Magnolia. Like Sydney, Hall is a man of experience and precision, but is often overlooked. If Hard Eight doesn’t make you a fan of Philip Baker Hall, I don’t know what will.
The talent doesn’t stop there as Anderson employs a cast that would be a dream for any first time director. John C. Reilly, Samuel L. Jackson, Gwyneth Paltrow, and hey look, there’s Melora Walters and Philip Seymour Hoffman making cameos! Damn. What a stroke of luck for Anderson, who was afforded the rare opportunity of working with actors who would later become some of the biggest names in Hollywood. Since Hard Eight, ensemble casts have been a trademark for PTA, making him the heir to the throne of Robert Altman.
The element that brings Hard Eight together is the chemistry between Hall and Reilly. Beginning with their chance (but is it really chance?) encounter at a coffee shop in fabulous Las Vegas, the two spark a long lasting relationship akin to that of a father and his son. Familial relationships are a driving theme for most of Anderson’s films, and this one is no different.
Sydney is a man with money but no family, and he goes through the entire movie doing whatever is in his power to retain that strength. As flawed as many of the characters in the film can be, it must be remembered that these are human beings looking for some kind of companionship, whether they are looking for a quick fix or an everlasting bond. It’s hard to make a person with unlikable qualities seem likable, but Anderson undertakes that task successfully, which is why he is one of the most admired directors working today.
