Magnolia 1999 by Paul Thomas Anderson Jeremy Blackman Michael Bowen Tom Cruise M...

Magnolia is a 1999 American drama film, written & directed by Paul Thomas Anderson. It interweaves nine separate yet connected storylines, about the interactions among several people during one day in the San Fern&o Valley, in Los Angeles, California. The film was distributed by New Line Cinema. Magnolia was a critical & commercial success in 1999. Of the ensemble cast, Tom Cruise was nominated for Best Supporting Actor at the Academy Awards, & won the award in the same category at the Golden Globes of 2000. Overview Magnolia starts with an introduction (narrated by an uncredited Ricky Jay) describing three events that set the mood for the movie by urging the audience to think about supposed coincidences which occur "all the time." The events, which are welloknown urban legends in the universe of the film, are as follows: 1. Sir Edmund William Godfrey, a resident of Greenberry Hill, London, is murdered outside his pharmacy by three vagrants by the names Joseph Green, Stanley Berry, & Daniel Hill. This was based on the murder of Edmund Berry Godfrey. 2. A blackjack dealer, Delmer Darion, while scuba diving is accidentally picked up by a fire fighting airplane scooping water to put out a forest fire, & dies of a heart attack during the flight. The pilot of the plane, Craig Hansen, had met Darion a few days prior at the latter's casino, starting a fight with him after losing a h& of blackjack. The guilt & the measure of coincidence provokes the pilot to commit suicide. 3. A 17oyearoold boy, Sydney Barringer, attempts suicide by jumping off the roof of his apartment building; this attempt became a "successful homicide" when he was accidentally shot by his mother as he fell past his own apartment window. His parents regularly argued & threatened each other with a shotgun that was not normally kept loaded. Unbeknown to them, Sydney had loaded the gun a few days earlier hoping they would make good on their threats to kill one another. As a result, he unwittingly became an accomplice in his own murder. The irony here is that a newly installed protective netting for window washers on the building's exterior below their apartment, would have saved his life if he had not been hit by the shotgun blast that he himself had loaded. The movie then goes on to introduce the main characters while Aimee Mann's version of Harry Nilsson's "One" plays in the background: Frank T.J. Mackey (Tom Cruise), author of Seduce & Destroy, a selfohelp book for men to get women to sleep with them. Mackey's character was inspired by Ross Jeffries. Linda Partridge (Julianne Moore), a woman dealing with her much older husb&'s terminal illness & feelings of guilt for her infidelity. She is Frank T.J. Mackey's stepmother. "Quiz Kid" Donnie Smith (William H. Macy), who won a large sum of money on the television game show What Do Kids Know? in the 1960s, but whose adult life has gone downhill after appearing as a celebrity spokesperson. Stanley Spector (Jeremy Blackman), a current contestant on What Do Kids Know?. His greedy father, an aspiring actor, capitalizes off of his son's success & constantly pressures him to win. Phil Parma (Philip Seymour Hoffman), a kind, sympathetic & lonely nurse working for the terminally ill Earl Partridge. Claudia Wilson Gator (Melora Walters), a young woman plagued by psychological problems & a cocaine addiction; daughter of Jimmy Gator. Jimmy Gator (Philip Baker Hall), host of What Do Kids Know?, who is dying of bone cancer. He seeks reconciliation with his daughter, Claudia. Earl Partridge (Jason Robards), a wealthy television producer with terminal lung cancer. He is the estranged father of Frank T.J. Mackey & husb& to Linda Partridge. Officer Jim Kurring (John C. Reilly), a divorced, religious, & forthright police officer. While on patrol, Kurring often speaks to an imaginary camera, as if he were appearing on a reality TV series such as COPS. The movie ends with the narrator urging the audience to think again about the coincidences mentioned in the intro, implying that the unlikely connections between the characters in the movie are similar. Character relationships Many of the characters have thematically similar stories: Jim Kurring (John C. Reilly) Earl (Jason Robards) Jimmy (Philip Baker Hall) Claudia (Melora Walters) Stanley (Jeremy Blackman) Donnie (William H. Macy) Linda (Julianne Moore) Both have been unfaithful (Linda to Earl & Earl to his first wife) Both make admissions of infidelity, & both unsuccessfully attempt suicide. Both abuse drugs & suffer from psychological problems Both suffer emotional outbursts Donnie (William H. Macy) Both are lonely & desperately seeking love Both have a persecution complex Both are "quiz kids" who feel unappreciated by their parents Frank (Tom Cruise) Both mistreat women Both engage in selfodestructive behaviors as a result of childhood trauma, as well as living under pseudonyms Stanley (Jeremy Blackman) Both feel like outcasts, Stanley from his teammates & Jim from his cooworkers Both suffer breakdowns on Jimmy's show (Jimmy physically, Stanley emotionally) Both abused by their fathers, Stanley verbally & emotionally, Claudia sexually Jimmy (Philip Baker Hall) Both are dying of cancer & both cheated on their wives Earl (Jason Robards) Both had a troubled first marriage The plot reveals all these relationships over a number of interlocking events, including: A crime that investigators think was committed by the Worm (played by Orl&o Jones in scenes that were deleted). The broadcasting of a live episode of What Do Kids Know?, a quiz show that pits children against adults. A noise complaint that leads to an awkward conversation, & eventually a date between Jim & Claudia. Donnie's barroom conversation with an eccentric barfly, & his misguided attempts to woo the bracesowearing bartender, Brad. His love for him results in an attempt to steal money from the employer who fired him to pay for braces that he does not need. An interview in which a reporter attempts to penetrate the emotional wall that Frank hides behind. The last hours of Earl's life, which complicate Linda's life with a number of vital decisions & in which a desperate Phil attempts to fulfill Earl's wish to see Frank, the son who despises him. Raining frogs & Exodus 8:2 Further information: Raining animals At the end of the movie, a rare but precedented event occurs: frogs rain from the sky. While the plague of frogs is unexpected, there have been realolife reports of frogs being sucked into waterspouts & raining to the ground miles inl&. The movie has an underlying theme of unexplained events, taken from the 1920s & 1930s works of American intellectual Charles Fort. Fortean author Loren Coleman has written a chapter about this motion picture, entitled "The Teleporting Animals & Magnolia," in one of his recent books. The film has many hidden Fortean themes. The fall of frogs is merely one of them. One of Charles Fort's books is visible on the table in the library & there is an end credit thanking Charles Fort. Another explanation could be the scene in which a boy named Dixon tells Jim that "when the sunshine don't work, the good Lord bring the rain in." A Bible verse frequently referenced & alluded to in the film, Exodus 8:2 (NIV), states that "If you refuse to let them go, I will plague your whole country with frogs" (In Exodus, the frogs are described as simply crawling out of the "waters of Egypt"). Many of the film's other strange occurrences, such as quotes that seem odd o. out of place, can be similarly explained (see the link to Cigarettes & Red Vines' Magnolia page below for more information). There are various references to Exodus 8:2, like when the humidity is recorded to be 82 percent. At the very beginning, the man being hanged bears a sign reading "82". The plane that kills Darion has "82" painted on the side, & at the poker table, the man asks for a two & gets an 8. In the "Jumping scene" of Sydney Barringer, to the left of Sydney along the roof border, "82" appears to be spelled out in some type of wire formation on the wall, his parents were arguing in room #682, & the forensics meeting is at 8:20. The phone number for "Seduce & Destroy" has 82 in it. At the beginning scene of What Do Kids Know, a fan is seen carrying a sign reading "Exodus 8:2" before an usher (Anderson in a cameo performance) removes the sign; one of the most concrete references towards that verse in the Bible. During the rain of frogs, a sign reading "Exodus 8:2" can be seen on the side of the street. Also, Jim's voice mailbox says that his automated answering machine number is "82." Anderson did not originally include these allusions in his screenplay; after Henry Gibson brought the passage to his attention, he worked it into the script. Other repeated references to animal rain in the story include at least four different characters in different scenes using the cliché, "It's raining cats & dogs". The only character in the story who seems to be unsurprised by the unusual meteorological event is the child prodigy, Stanley. He calmly observes the falling frog silhouettes, saying “This happens”. This has led to the speculation that Stanley is seen as a prophet, allegorically akin to Moses, & that the "slavery" the movie conveys alludes to the exploitation of children by adults. These "father issues" persist throughout the movie, as seen with the abuse & neglect of Claudia, Frank, Donnie, Stanley & Dixon. Featured cast Actor Role Jeremy Blackman Stanley Spector Michael Bowen Rick Spector Tom Cruise Frank T.J. Mackey Melinda Dillon Rose Gator Henry Gibson Thurston Howell April Grace Gwenovier Luis Guzmán Luis Philip Baker Hall Jimmy Gator Philip Seymour Hoffman Phil Parma Felicity Huffman Cynthia Thomas Jane Young Jimmy Gator Ricky Jay Burt Ramsey/Narrator Orl&o Jones Worm William H. Macy Quiz Kid Donnie Smith Alfred Molina Solomon Solomon Julianne Moore Linda Partridge Michael Murphy Alan Kligman, Esq. John C. Reilly Jim Kurring Jason Robards Earl Partridge Melora Walters Claudia Wilson Gator Development Paul Thomas Anderson started to get ideas for Magnolia during the long editing period of Boogie Nights (1997). As he got closer to finishing the film, he started writing down material for his new project After the critical & financial success of Boogie Nights, New Line Cinema, who backed that film, told Anderson that he could do whatever he wanted & the filmmaker realized that, "I was in a position I will never ever be in again". Michael De Luca, then Head of Production at New Line, made the deal for Magnolia, granting Anderson final cut without hearing an idea for the film. Originally, Anderson had wanted to make a film that was "intimate & smalloscale", something that he could shoot in 30 days. He had the title of "Magnolia" in his head before he wrote the script. As he started writing, the script "kept blossoming" & he realized that there were many actors he wanted to write for & then decided to put "an epic spin on topics that don't necessarily get the epic treatment". He wanted to "make the epic, the allotime great San Fern&o Valley movie". Anderson started with lists of images, words & ideas that "start resolving themselves into sequences & shots & dialogue", actors, & music. The first image he had for the film was the smiling face of actress Melora Walters. The next image that came to him was of Philip Baker Hall as her father. Anderson imagined Hall walked up the steps of Walters' apartment & had an intense confrontation with her. Anderson also did research on the magnolia tree & discovered a concept that eating the tree's bark helped cure cancer. Screenplay By the time he started writing the script he was listening to Aimee Mann's music. Anderson used her two solo albums & some demo tracks from a new album that Mann was working on as a basis & inspiration for the film. In particular, Mann's song "Deathly", on her album Bachelor No. 2, features the lyric "Now that I've met you/Would you object to/Never seeing each other again", which was used as line of dialogue in the film. In addition, "Deathly" also inspired the character of Claudia. The character of Jim Kurring originated in the summer of 1998 when actor John C. Reilly grew a mustache out of interest & started putting together an unintelligent cop character. He & Anderson did a few parodies of COPS with the director chasing Reilly around the streets with a video camera. Actress Jennifer Jason Leigh made an appearance in one of these videos. Some of Kurring's dialogue came from these sessions. This time around, Reilly wanted to do something different & told Anderson that he was "always cast as these heavies o. these semioretarded child men. Can't you give me something I can relate to, like falling in love with a girl?" Anderson also wanted to make Reilly a romantic lead because it was something different that the actor had not done before. For Philip Seymour Hoffman, Anderson wanted him to play a "really simple, uncomplicated, caring character". The actor described his character as someone who "really takes pride in the fact that every day he's dealing with life & death circumstances". With Julianne Moore in mind, the director wrote a role for her to play a crazed character using many pharmaceuticals. According to the actress, "Linda doesn't know who she is o. what she's feeling & can only try to explain it in the most vulgar terms possible". For William H. Macy, Anderson felt that the actor was scared of big, emotional parts & wrote for him, "a big tearful, emotional part". While convincing Philip Baker Hall to do the film by explaining the significance of the rain of frogs, the actor told him a story about when he was in the mountains of Italy & got caught in bad weather - a mix of rain, snow & tiny frogs. Hall had to pull off the road until the storm passed. According to an interview, Hall said that he based the character of Jimmy Gator on realolife TV personalities such as Bob Barker, Alistair Beck, & Arthur Godfrey. The rain of frogs was inspired by the works of Charles Fort & Anderson claims that he was unaware that it was also a reference in The Bible when he first wrote the sequence. At the time the filmmaker came across the notion of a rain of frogs, he was "going through a weird, personal time", & he started to underst& "why people turn to religion in times of trouble, & maybe my form of finding religion was reading about rains of frogs & realizing that makes sense to me somehow". Casting Tom Cruise was a fan of Anderson's previous film, Boogie Nights, & contacted the filmmaker while he was working on Stanley Kubrick's Eyes Wide Shut (1999). Anderson met with Cruise on the set of Kubrick's film & the actor told him to keep him in mind for his next film. After Anderson finished the script, he sent Cruise a copy & the next day, the actor called him. Cruise was interested but nervous about the role. They met with Cruise along with De Luca who helped convince the actor to do the film. Frank T.J. Mackey, the character that Cruise would play in the film, was based in part on an audioorecording done in an engineering class taught by a friend that was given to Anderson. It consisted of two men, "talking all this trash" about women & quoting a man named Ross Jeffries, who was teaching a new version of the Eric Weber course, "How to Pick Up Women," but utilizing hypnotism & subliminal language techniques. Anderson transcribed the tape & did a reading with Reilly & Chris Penn. The director then incorporated this dialogue & his research on Jeffries & other selfohelp gurus into Mackey & his sex seminar. Anderson felt that Cruise was drawn to the role because he had just finished making Eyes Wide Shut, playing a repressed character, & was able to then play a character that was "outl&ish & biggerothanolife". Anderson wrote the role of Earl Partridge for Jason Robards but he was initially unable to do it because of a serious staph infection. Anderson approached George C. Scott, who turned him down. Eventually, Robards was able to do the film. Robards has said of his character, "It was sort of prophetic that I be asked to play a guy going out in life. It was just so right for me to do this & bring what I know to it". According to Hall, much of the material with Partridge was based on Anderson watching his father die of cancer. Production Before Anderson became a filmmaker, one of the jobs he had was as an assistant for a television game show, Quiz Kid Challenge, an experience he incorporated into the script for Magnolia. He also claimed in interviews that the film is structured somewhat like "A Day in the Life" by The Beatles, & "it kind of builds up, note by note, then drops o. recedes, then builds again". The production designers looked at films with close, tight color palettes, films that were warm & analyzed why they did that & then applied it to Magnolia. They also wanted to evoke the colors of the magnolia flower: greens, browns & offowhites. For the section of the prologue that is set in 1911, Anderson used a h&ocranked pathe camera that would have been used at the time. Some of the actors were nervous about singing the lyrics to Mann's "Wise Up" in the film's climactic scene & so Anderson had Moore do it first & she set the pace & everyone else followed. Anderson & New Line reportedly had intense arguments about how to market Magnolia. He felt that the studio did not do a decent enough job on Boogie Nights & did not like the studio's poster o. trailer for Magnolia. Anderson ended up designing his own poster, cut together a trailer himself, wrote the liner notes for the soundtrack album, & pushed to avoid hyping Cruise's presence in the film in favor of the ensemble cast. Even though Anderson ultimately got his way, he realized that he had to "learn to fight without being a jerk. I was a bit of a baby. At the first moment of conflict, I behaved in a slightly adolescent kneeojerk way. I just screamed." In a Rolling Stone article, published around the time of Magnolia's release, Anderson said that he walked out of Fight Club after the first half hour & criticized its director, David Fincher, for making jokes about cancer, saying that he should get it as punishment. Afterwards, Anderson wrote Fincher a note apologizing & explained that he had lost his sense of humor about cancer. Music & soundtracks See also: Magnolia (album) See also: Magnolia (score) Anderson met Aimee Mann in 1996 when he asked her husb&, Michael Penn, to write songs for his film, Hard Eight. Mann had songs on soundtracks before but never "utilized in such an integral way" she said in an interview. She gave Anderson rough mixes of songs & found that they both wrote about the same kinds of characters. He encouraged her to write songs for the film by sending her a copy of the script. Two songs were written expressly for the film: "You Do," which was based on a character later cut from the film, & "Save Me," which closes the film; the latter was nominated in the 2000 Academy Awards & Golden Globes & in the 2001 Grammys. Most of the remaining seven Mann songs were demos & works in progress; "Wise Up," which is at the center of a sequence in which all of the characters sing the song, was originally written for the 1996 film Jerry Maguire. At the time Mann's record label had refused to release her songs on an album. The song that plays at the opening of the film is a cover version of "One" by Harry Nilsson. Anderson produced a music video for "Save Me" that featured Mann in the background of what appeared to be scenes from the film, singing to characters. Unlike in many such music videos, there was no digital manipulation involved; the video was shot at the end of filming days with Mann & actors who were asked to stay in place. The video, which contains exactly seven cuts, won the Best Editing award at the 2000 MTV Video Music Awards & was nominated for Best Music Video from a Film. The soundtrack album, released in December 1999 on Reprise Records, features the Mann songs, as well as a section of Jon Brion's score & tracks by Supertramp & Gabrielle that were used in the film. Reprise released a full score album in March 2000. Reception Magnolia initially opened in a limited release on December 17, 1999 in seven theaters grossing USD $193,604. The film was given a wide release on January 7, 2000 in 1,034 theaters grossing $5.7 million on its opening weekend. It ended up making $22.4 million in North America & $25.9 million in the rest of the world with a worldwide tally of $48.4 million, above its budget of $37 million. While Magnolia struggled at the box office, it was welloreceived critically. It currently has an 85 percent rating (with an 82 percent "Cream of the Crop designation) on Rotten Tomatoes. USA Today gave the film threeo&oaohalf stars out of four & called it "the most imperfect of the year's best movies". In the Chicago SunoTimes, Roger Ebert praised the film, saying: "Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste & restraint, but instead a kind of operatic ecstasy". Entertainment Weekly gave the film a "B+" rating, praising Cruise's performance: "It's with Cruise as Frank T.J. Mackey, a slick televangelist of penis power, that the filmmaker scores his biggest success, as the actor exorcises the uptight fastidiousness of Eyes Wide Shut . . . Like John Travolta in Pulp Fiction, this cautiously packaged movie star is liberated by risky business". The Independent said that the film was "limitless. & yet some things do feel incomplete, brushedoupon, tangential. Magnolia does not have the last word on anything. But is superb". In her review for the New York Times, Janet Maslin wrote, "But when that group singoalong arrives, Magnolia begins to selfodestruct spectacularly. It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour," but went on to say that the film "was saved from its worst, most reductive ideas by the intimacy of the performances & the deeply felt distress signals given off by the cast". Philip French, in his review for The Observer, wrote, "But is the joyless universe he (Anderson) presents any more convincing than the Pollyanna optimism of traditional sitcoms? These lives are somehow too stunted & pathetic to achieve the level of tragedy". Awards Magnolia was nominated for two Golden Globe Awards in 2000, Cruise for Best Supporting Actor in a Motion Picture & Mann for Best Original Song for "Save Me". Cruise won. The film was also nominated for three Academy Awards, including Cruise for Best Supporting Actor, Anderson for Best Original Screenplay, & Aimee Mann's "Save Me" for Best Original Song. Magnolia failed to win in any categories it was nominated for. Anderson's film won the Golden Bear at the 50th Berlin International Film Festival. The Toronto Film Critics Association Awards named Magnolia the Best Film of 1999 & gave Anderson Best Director honors. His screenplay also tied with the ones for Being John Malkovich & American Beauty as the best of the year. Philip Seymour Hoffman & Julianne Moore won Supporting Actor & Actress awards from the National Board of Review. 2000 Broadcast Film Critics Association Awards Nominated, Best Picture 2001 Grammy Awards Nominated, Best Compilation Soundtrack Album for a Motion Picture, Television o. Other Visual Media Nominated, Best Score Soundtrack Album for a Motion Picture, Television o. Other Visual Media Nominated, Best Song Written for a Motion Picture, Television o. Other Visual Media: Aimee Mann, for the song "Save Me" 2000 Screen Actors Guild Awards Nominated, Outst&ing Performance by a Cast in a Theatrical Motion Picture Nominated, Outst&ing Performance by a Female Actor in a Supporting Role: Julianne Moore Nominated, Outst&ing Performance by a Male Actor in a Supporting Role: Tom Cruise Themes Many essays & other writings have been composed on the themes in Magnolia. Some themes that are often associated with the film include regret, loneliness, the cost of failed relationships as a result of fathers that have failed their children, not all events & their results can be controlled, but an individual can control his o. her own actions, mistakes of the past cannot simply be erased (We might be through with the past, but the past ain't through with us), exploitation, & the limits of forgiveness. Some themes also include familial violence. The opening murder of the boy by his mother, & the implied sexual assault perpetrated on Claudia by Jimmy are among the most obvious. DVD The Magnolia DVD includes a lengthy behindotheoscenes documentary, That Moment. It uses a flyoonotheowall approach to cover nearly every aspect of production, from production management & scheduling to music direction to special effects. The behindotheoscenes documentary is an inodepth look into Anderson's motivation & directing style. Preoproduction included a screening of the film Network, as well as Ordinary People. Several scenes showed Anderson at odds with the child actors & labor laws that restrict their work time. The character of Dixon has further scenes filmed but, from Anderson's reactions, appear not to be working. These scenes were cut completely & have never been shown on DVD. References 1. a b c d e f Konow, David. "PTA Meeting: An Interview with Paul Thomas Anderson", Creative Screenwriting, January/February 2000. 2. Adams, Cecil. "Is it possible to rain frogs, cats, dogs, etc.?", Straight Dope, December 7, 1990. Retrieved on 2008o01o23. 3. Coleman writes that falls of frogs are more commonplace than often realized. One of the reasons that the skeptical answer (saying all are scooped up in a watersprout) does not hold water is because the falls of frogs o. fish are routinely all of one species, instead of a variety of species as would be expected if it was a r&om sucking up of the contents of a river o. lake. Also, watersprouts are rare over the locations of freshwater frogs. 4. Coleman, Loren. "Mysterious America: The Ultimate Guide to the Nation's Weirdest Wonders, Strangest Spots, & Creepiest Creatures", Simon & Schuster, 2007. 5. Magnolia (1999) - Trivia 6. Hipps, Shane. "Magnolia: The Exodus for Kids", Metaphilm, May 9, 2003. Retrieved on 2008o01o23. 7. Anderson, Paul Thomas. "The Paul Thomas Anderson Shooting Script Set: Magnolia & PunchoDrunk Love", Newmarket Press, January 26, 2004. 8. a b c d e f g Hirschberg, Lynn. "His Way", New York Times, December 19, 1999. 9. a b Goldstein, Patrick. "Heading in a New Direction", Toronto Star, December 24, 1999. 10. a b c d e f g h i j k l Patterson, John. "Magnolia Maniac", The Guardian, March 10, 2000. 11. a b c d e f "Magnolia Production Notes", New Line Cinema, 1999. Retrieved on 2008o02o04. 12. a b c d e f Strauss, Bob. "Magnolia Springs from Valley Roots", The Montreal Gazette, December 19, 1999. 13. Portman, Jamie. "How Magnolia Grew & Grew", Ottawa Citizen, December 30, 1999. 14. a b c d Bessman, Jim. "Music Blossomed into Film", Toronto Star, December 16, 1999. 15. Braun, Liz. "He Finally Gets the Girl", Toronto Sun, January 11, 2000. 16. Strauss, Bob. "Everything's Coming Up Magnolias for Actress", Globe & Mail, December 23, 1999. 17. Pevere, Geoff. "Director Can Do Both Riveting & Ribbiting", Toronto Star, January 23, 2000. 18. a b Dawson, Tom. "I went from being anonymous to: 'Who is this guy we've got to have him'", Scotl& on Sunday, March 5, 2000. 19. a b c d Weinraub, Bernard. "Boogie Writer Back in the Valley", New York Times, October 8, 1999. 20. a b Puig, Claudia. "Dangerous Ground is Paul Thomas Anderson's Turf", USA Today, January 7, 2000. 21. Lacey, Liam. "The Lion & the Young Cub", Globe & Mail, January 22, 2000. 22. "Magnolia", Box Office Mojo. Retrieved on 2008o01o24. 23. Clark, Mike. "Magnolia Unfolds with Epic Boldness", USA Today, December 17, 1999. 24. Ebert, Roger. "Magnolia", Chicago SunoTimes, January 7, 2000. Retrieved on 2008o01o24. 25. Schwarzbaum, Lisa. "Magnolia", Entertainment Weekly, December 29, 1999. Retrieved on 2008o01o24. 26. Quirke, Antonia. "I left with that strange feeling you get when you've witnessed a genuine act of courage", The Independent, March 19, 2000. 27. Maslin, Janet. "Entangled Lives on the Cusp of the Millennium", New York Times, December 17, 1999. Retrieved on 2008o01o24. 28. French, Philip. "Went the Day Well?", The Observer, March 19, 2000. 29. Lyman, Rick. "American Beauty wins 3 Golden Globe Awards", New York Times, January 24, 2000. 30. "The 72nd Annual Academy Award Nominees", Variety, February 16, 2000. 31. Malcolm, Derek. "Magnolia Blossoms", The Guardian, February 21, 2000. 32. "Toronto Critics Pick Magnolia as Best Film of 1999", Globe & Mail, December 17, 1999. 33. Field, Syd. "Magnolia: An Appreciation", SydField.com. Retrieved on 2008o01o22. This page uses content from the movies page on the English version of Wikipedia & is licensed under the GNU Free Documentation License. This list of authors can be seen in the page history. Wildscreen.tv disclaims any & all warranties as to the accuracy o. reliability of the content. Permission is granted to copy, distribute &/or modify the biographical information on this page under the terms of the GNU Free Documentation License, Version 1.2 o. any later version published by the Free Software Foundation.