Punch Drunk and Enough Advancement Theory for the Entire Syllubus
I think that punch drunk love works. works really well, actually, due in large part to the influence of Robert Altman and whoever PTA was channeling while directing this movie.
Now im not claiming hes the next coming of cinematic-raptor-jesus, but i do subscribe to a theory explained here by Pop Culture Critic, Chuck Klosterman. This theory is the theory of Advancement, and while in the article below the theory is explained using rock music, the same theory can apply to this film and any other film, particularly strange days and Shock Corridor.
http://www.esquire.com/features/ESQ0704-JULY_AMERICA
By my reasoning, which is probably wrong, PTA decided to have conspicuous Altman-influence not only to show his respect for Altman, but also to make the film work in the first place. Imagine if you saw this directed by anybody else (Altman excluded). Imagine if the story takes place over months of time instead of the time period it occupies now. Imagine if the conversations took place in a more orderly fashion and not thrusting themselves on Barry’s character like they do in the film. What if Barry’s character was a little less scatterbrained about the piano and the pudding and the crying, etc. The movie wouldnt work. This plus the inexplicable shifting-color-graphic inserts are what cause me to file this film under the advancement category.
Thinking back i think the most evident way that this film diverts from a completely Altmanian vein is that the film centers around the life of one person and not a huge ensemble cast (keep in mind the only altman ive seen is Nashville, sorry for the potentially undereducated comments).
