I don’t know if I don’t care because I didn’t get it, or if I didn’t get it because I didn’t care, but this is where I’m at with Paul Thomas Anderson‘s Inherent Vice, a meandering non-starter with plenty of funny scenes that play more as episodes within the larger, uninteresting tale of dope-smoking private investigator Larry “Doc” Sportello (Joaquin Phoenix).
The ’70s-set story begins as Sportello is approached by his ex-girlfriend (Katherine Waterston), whom he still carries a flame for, with a story of her kidnapped billionaire boyfriend and his scheming wife. During his investigation, Doc becomes privy to a variety of reveals including, but not limited to, Nazis, free love bars, real estate tycoons and tax-evading dentists to the point this is a movie that’s far weirder on paper than it is on film. Anderson approaches it with such a straight face that only a few of these kooky characters even register while the rest seem a perfect fit for the madcap world of Thomas Pynchon, whose novel of the same name served as the film’s narrative.
My ho-hum reaction to Inherent Vice didn’t necessarily come as a surprise. I tried reading Pynchon’s novel earlier this year and made it a quarter of the way through before giving up. Like my reaction to the film, I wasn’t disinterested, but nor was I interested… I just didn’t care and Phoenix’s performance as Sportello, as spot on as it may be (perhaps too much in fact) and, at times, quite humorous, I just didn’t care about him one bit. I didn’t care about his investigation, I didn’t care about his run-ins with his LAPD nemesis, Detective Christian “Bigfoot” Bjornsen (Josh Brolin) and his ex-girlfriend, Shasta, can go missing forever as far as I’m concerned.
Just shy of two-and-a-half-hours, this is like attending a party and listening to a drunk tell a story while you’re stone sober. You’ll be able to follow along, though as the hazier pieces of the story seem to float away you’ll find your attention wandering. You may look around and be entertained for brief moments, but as you turn back your attention to the drunk you realize he’s still talking and you’d prefer to just go home rather than listen to any more, even if there’s an occasional laugh.
The episodic nature of Inherent Vice turns each scene into its own little world and as Sportello uncovers clues related to his investigation you’ll find yourself saying, “Oh yeah, that’s right, he’s investigating something… what was that something again?” Once whispers of the Golden Fang surface I was done with the investigation and merely watching for the sport of it, and soon enough we are treated to an energetic, off-the-wall performance from Martin Short that pretty much steals the entire movie in a matter of minutes, creating a high the rest of the film can’t live up to.
After my first viewing I felt it was worth a second before writing my review. I made it about 45 minutes before shutting it off. I just couldn’t take any more. Phoenix’s Sportello is only interesting when he’s either hit on the head with a bat or engaging with someone far more interesting than himself. I couldn’t take any more of his hushed conversations with Owen Wilson, in a story aside that only further clouds (purposefully it seems) the overall narrative. Why am I trying to listen to this guy’s story? was a thought that continually ran through my head and I never came up with a satisfying answer.
Robert Elswit‘s cinematography is, at times, interesting. As much as I disliked Wilson’s involvement, his foggy first meeting with Sportello is beautiful, conjuring memories of the classic noir features that clearly served as inspiration. The Big Lebowski is also a clear inspiration, though it pains me to make that comparison as Vice just can’t stand tall next to the Coen classic.
Anderson does bring a certain electricity with his music choices, but at the same time I felt Jonny Greenwood‘s score was layered on a bit thick in moments I would have preferred a little more peace and quiet. This film seems intent on not only being a highbrow stoner comedy, it seems intent on making sure you know it as such.
In the end, I can pretty much piece together the story, but I can’t explain why it matters. All I really remember are the performances from the likes of Short, Brolin, Benicio del Toro, Hong Chou, Michael K. Williams and Reese Witherspoon. I do remember Joanna Newsom narrating the entire thing, but can’t honestly remember a word she said, and couldn’t while watching, only seconds after hearing them.
My only caveat to all of this is to say if you’re a Pynchon fan, you may love every minute of this movie. I’ve only tried reading “Inherent Vice” so I can’t speak on this with any authority, but it seems Anderson has managed to tap into Pynchon’s storytelling sensibilities with this film and if you’re down with his prose you’ll likely be down with this adaptation. Personally, I was left wanting, chuckling at times, feeling one viewing was enough and after attempting a second I knew I never needed to try again.
