At a time when creative freedom feels more at risk than ever before, it’s a breath of fresh air to see a fiercely innovative and politically-driven blockbuster hit theaters. Filmmaker Paul Thomas Anderson’s newest film, “One Battle After Another,” was released nationwide on September. 26.
The central plot follows a rebellious drug addict named Bob Ferguson (Leonardo DiCaprio) who, sixteen years after a job gone wrong with his former band of revolutionaries, is hunted down by his archenemy Colonel Steven J. Lockjaw (Sean Penn). After his daughter Willa (Chase Infiniti) gets embroiled in the conflict, Bob is forced to fight for what he believes in once again.
Anderson, better known by his initials PTA, is no stranger to large epics like these. He made one of his most notable works, the darkly flamboyant period drama “Boogie Nights,” when he was just 26. His following features, namely the drama films “Magnolia,” “There Will Be Blood” and “The Master,” only further cemented his large creative ambitions — a trait of his he doesn’t sacrifice here.
Loosely adapted from Thomas Pynchon’s novel “Vineland,” the film differs significantly from the rest of this year’s blockbusters. Even with its hefty $130 million production budget, it’s still a distinctly PTA-esque film. Despite the film proving to be a financially contentious decision for Warner Bros, there’s no denying that the film will be remembered for years to come.
“One Battle After Another” is a sharp, increasingly timely and, above all else, wildly entertaining ride through a divided country. A story of a polarized present and a future that, as the mother of Ferguson’s daughter Perfidia Beverly Hills (Teyana Taylor) states, has changed very little.
From its uncompromisingly tense scenes of modern-day counterinsurgency efforts to its emphasis on immigration and satirical depiction of white supremacists, the film is chock full of references to our modern times. While it never explicitly mentions real events or figures by name, one can assume that Anderson is alluding to modern fascism as a whole.
Despite these fiery themes, some of which are sickening when compared to real-life counterparts like the Trump Administration, much of the film’s profundity stems from the little moments. One of the film’s best scenes is a mundane conversation between Bob and the community-driven Sensei Sergio (Benicio Del Toro). Subtler elements, such as Jonny Greenwood’s chaotic score and the expressive lighting, also contribute to the film’s grandeur.
Now is as good a time as any to highlight the unique cinematography. Shot on VistaVision, a rare 35MM film format that allows for more detail to be captured in each frame, the film retains the same haziness found within the rest of Anderson’s body of work. While an objectively imperfect image, it carries a distinctive personality because of its quirks and looks stunning on-screen.
While all these elements provide the film with a blisteringly upbeat vibe, it’s the strained yet often charming dynamic between Bob and Willa that gives this grim story a sense of optimism. A hilariously bittersweet recontextualization of the core relationship within Pynchon’s novel, it’s a relatably sincere bond that’s brought to life by two explosive performances from Leonardo DiCaprio and Chase Infiniti.
Penn’s dark turn as Lockjaw, however, stands out the most. It’s a simultaneously silly and depraved portrayal of an extreme male archetype, one found all too commonly in our world. A true embodiment of evil, from his bigoted rhetoric, to his guttural voice, to his Vince McMahon-esque walk. He’s a villain that, while difficult to watch, is near impossible to ignore.
One could argue that much of “One Battle After Another” functions in the same vein. It’s not the most progressive film, nor is it one that will incite a revolution. It exposes injustice in a way that’s digestible to those who may not be ready or willing to hear about it. While still an action flick at its core, it’s relieving to see a film of this scale at least acknowledge what’s happening in our world.
It’s only then that we can expect genuine reform. It’s important art like this that, as Perfidia reiterates near the end of the film, might allow creatives to be the ones to put the world right.
Jacob Bernardino is an Arts & Entertainment Staff Writer. He can be reached at bernarj2@uci.edu.
Edited by June Min and Joshua Gonzales