This was P.T.A. (purely terrific and awesome) kino

PTA == PooPoo Terrible and Awful

yeah i wanted to stomp his face in

Did Jaoquin Phoenix's character become retarded from drinking whatever he found in peoples' bathrooms?

Dodd definitely had feelings for Freddie, even the last scene where he sang to him that song but Freddie obviously had lots of issues. I'm not sure if it was specifically mental illness, I think it was just him being a little feeble-minded.

Dodd was definitely gay but that scene was immediately after Dodd was dancing around with other women, whom Freddie imagined as naked. Also, Dodd was developing a habit for Freddie's poison, which he signals for in the scene by grabbing his nose and ear, which he tells him he will do earlier. Amy is attempting to rid him of all desire, for the women, for the poison, for Freddie, and get Dodd on a better path. She does the same with Freddie but her goal there is to get him to leave by helping him focus his energy on an external goal, in his case Doris.

Well he was severely drunk in the scene you are mentioning, on alcohol made from household chemicals. It causes him to hallucinate several times. But yet mental illness could also be a component. And keep in mind his mother abused him as a child.

So can we all agree that Amy was the real master? She was the one who could handle both Dodd and Freddie. Even though at the end Freddie proved that he has no master.

I don't understand what's going on but I love PT Anderson films

Yaaay

PTA is to the audience what Dodd is to Freddie. There's a really important scene with Freddie watching Casper the Friendly Ghost in a cinema. That's supposed to be us.

why was mike stoklasa in this movie?

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excuse me

Yes, PTA even said it in an interview. But I think it's more abstract than that. After all, the final shot is the sandwoman holding Joaquin. All the women in the film, Amy, Dodd's daughter, Joaquin's ex girl Doris, Mrs. Solstad, and the fat girl at the end all have red hair. They represent one woman, the force that controls all of mankind. They even all have similar facial features. It's a very deep movie.

"Hi I'm Captain Billy the pirate! Do you wanna play pirates with me?"

"Boy, do I!"

She was also the author of of Dodd's work. She dictated every word to him as he typed it.

holy shit

>IT'S NOTHING

>IT'S JUST A FUCKING WINDOW

>I FEEL NOTHING

Why did Dodd asked him to do this? What was even the point?

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To connect with the window and imagine it as something more than just a window? I don't know, I didn't get that part either.

>They represent one woman, the force that controls all of mankind. They even all have similar facial features.
I think I'm going to rewatch the movie again because I didn't notice that. Interesting.

The wall represents the cause. It's inherently limiting but provides him with structure, somewhere to call home. The window represents freedom and potential. He can go anywhere he wants, he can find a new home, a new life, but he's trapped behind the glass. Glass is a very important symbol in PTA movies. Breaking glass is seen repeatedly in Punch Drunk Love, with the character Barry doing so to express his need for freedom, change, and masculinity. Notice the wall is always on the left and the window is on the right. Similarly, in the bike riding scene, Dodd rides to the left but ends up back where he started. Freddie rides to the right and leaves forever. Left and right are big aspects to the film. Freddie winds up on the boat after running from the migrant farmers, running to the left.

I didn't care for the movie the first time I saw it, but I changed my opinion when I saw the final scene with the sand woman. I realized I had missed a lot of the movie and rewatched it. I've seen it at least 20 times now and it's probably my favorite movie. Notice the theme of singing throughout the film. Doris sings to Freddie, Freddie sings to Dodd, and then Dodd sings to Freddie.

Thanks for explaining, this is truly beautiful. It really seems that everything in this movie has a hidden and deep message.
Honestly I really want to rewatch it and notice all these important details that I missed. I only watched it one time and I thought I understood it but seems like I missed a lot of things.

You're welcome! Like I said it's basically the greatest movie ever made. I have a feeling PTA was working on it for over a decade, pretty much after he met Tom Cruise when making Magnolia, who I think the film might secretly be about. It's basically impossible to understand on one viewing. One thing I might add though is that to really understand it, you've got to watch every other PTA movie. I know that seems like a lot of work, but he's the greatest living director so it really isn't. I'd start with Boogie Nights and work your way up. Hard Eight you can skip if you like for now

>Like I said it's basically the greatest movie ever made

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t. pigfuck

It's better than Mulholland Drive. I don't even think MD is Lynch's best, I think that's Blue Velvet personally, or possibly Wild at Heart.

Is it better than this?

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pigFUCK

I dont see how it changes anything if he's gay or straight. Either way he just liked Freddie and wanted to 'fix' him

...you got lucky. You picked the one movie that it's not better than. But the Master is definitely at least AS GOOD as Badlands.

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He saw Freddie as a broken individual with a bad upbringing which made him a perfect target for The Cause. He didn't give a shit about fixing him. People like Dodd look for vulnerable people to manipulate. It's pretty straightforward.

There was no luck involved.

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This movie is the reason psh killed himself

I think it does change it, but the movie can be enjoyed whether or not you think Dodd is straight or gay. If Dodd is gay then he's trying to change Freddie for entirely selfish reasons. He wants someone who loves him for who he is, not for all of his money or power like everyone else. But Freddie can't stay in one place for long so Dodd has to change him if he wants him to stay. But he fails and Freddie is left to roam free again. If he's not gay then maybe Dodd wants to help Freddie for his own sake, because he wants to quell his pain (get it, "quell"?) but that seems unlikely becaude Dodd himself knows his techniques are mostly nonsense and any benefit from them is mostly a placebo.

...I know. It's hard to admit defeat.

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I didn't read it like that, he seemed to actually like him. Also he didnt strike me as being entirely sociopathic about the cause. Behind the narcissism and desire for power he really did want some kind of metaphysical knowledge.

Get some higher resolution images.

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He knew deep down he couldn't fix Freddie but I think he still felt a lot of compassion for him. Think back to that scene where he's processing Freddie, and Dodd is tearing up. No other character makes him do that. No one else can break his heart like Freddie can, not even Maggie.

See

>Kauzer's Feed and Grain

Hmmmmmmmm...

>Think back to that scene where he's processing Freddie
First he calls it "informal processing" then he makes a Freudian slip and calls it "formal processing." Also, look at Dodd's eyes during that sequence. He's meticulously scanning Freddie's face for ticks and nonverbal cues he can exploit. He's looking for chinks in Freddie's armor.

It changes a lot actually. Also anyone with common sense can see that Dodd was definitely a closeted homosexual or at least bisexual and that he wanted Freddie for himself.

youtube.com/watch?v=rUU3fsp9bTM

I'm not saying Dodd wasn't manipulating Freddie the entire time, he obviously was. Sometimes people do that eye move thing in order to make their eyes sort of gleam, and appear more attractive and trustworthy. And it fits in with the theme of "left vs right" that I brought up earlier in the thread about the window/wall and motorcycle scenes. Dodd even tells other people about Doris in order to torture Freddie later. But at the same time, Dodd is clearly very moved by Freddie in some deep way, that we don't see any other character do to him. And even after Dodd is gone, Freddie then uses his processing questions on the fat girl from the bar, demonstrating how deeply being around Dodd has changed him and redefined Freddie's notion of intimacy. Another important aspect of the processing scene is the fact that they are drunk and smoke cigarettes immediately after finishing, much like movie characters do after sex.

It's fine. Punch-Drunk Love is better.
Paul Thomas Anderson is overrated.

>Another important aspect of the processing scene is the fact that they are drunk and smoke cigarettes immediately after finishing, much like movie characters do after sex.
I thought I was the only one who noticed that. This is what makes their scenes even more intense imo, they really had a strong connection without even touching each other. It was truly powerful, exactly like sex.

>And even after Dodd is gone, Freddie then uses his processing questions on the fat girl from the bar, demonstrating how deeply being around Dodd has changed him and redefined Freddie's notion of intimacy.
Freddie is manipulating the girl the same way Dodd manipulated him. It's like when someone tells you a joke, then you use that joke on someone else without giving them credit for it.

>not synecdoche, ny

And it's not just normal sex. Freddie didn't really know what Dodd was doing to him, and he slowly prodded deeper and deeper into Freddie's psyche, causing him to experience pain and even scream, before dissociating into memory. It's closer to rape than normal sex, though obviously it's all psychological and in the end Freddie feels better because he's conquered a painful part of his past.

That's a very good point, but at the same time the tone is very different. Freddie is telling her the questions in more of a joking manner, causing her to smile and laugh. He's much less serious than Dodd, though likely just as manipulative, maybe even more so. And most importantly, Freddie adds a new question, that Dodd never asked:

"Have you ever been lived before?"

"I sure hope not."