Nerdly » ‘Licorice Pizza’ Review

21st Dec2021

‘Licorice Pizza’ Review

by Matthew Turner

Stars: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, Joseph Cross, Christine Ebersole, Mary Elizabeth Ellis, Skyler Gisondo, Harriet Sansom Harris, John Michael Higgins, John C. Reilly, Maya Rudolph | Written and Directed by Paul Thomas Anderson

Director Paul Thomas Anderson makes movie stars out of Alana Haim and Cooper Hoffman in this deliriously entertaining evocation of Southern California in the 1970s. Part awkward romance, part growing-up-on-the-fringes-of-Hollywood comedy and part nostalgia-fused hangout, it’s one of the best films of the year.

Named after a beloved San Fernando Valley record store, Anderson’s ninth feature film Licorice Pizza takes place in Encino, California in the early 1970s. Based partly on the real-life experiences of Anderson’s friend Gary Goetzman (a former child performer who’s now Tom Hanks’ producing partner), the film centres on burly, self-assured, entrepreneurial 15 year old Gary Valentine (Hoffman, son of Philip Seymour Hoffman), who’s instantly smitten with 25 year old photographer’s assistant Alana Kane (Haim, one third of the band Haim) when he meets her during class portrait day at his high school.

For reasons known only to herself, Alana agrees to meet Gary for a date, and soon she finds herself working for him, first by accompanying him to New York as his chaperone for a TV appearance, and later by becoming his assistant in a waterbed-selling business. As the pair experience a series of mini-adventures together, their ill-defined relationship undergoes plenty of ups and downs, but they’re also always there for each other when it counts.

Anderson perfectly recreates the atmosphere of perpetually sunny, 1970s California, filling the screen with tiny details (the production design is immaculate) and busting out a terrific soundtrack full of inspired needle-drops from the era. Licorice Pizza is quite clearly a labour of love for Anderson and that nostalgic warmth seeps into every frame, enveloping both characters and audience alike.

Anderson took a considerable gamble, casting two first-time actors, but his faith in Haim and Hoffman is rewarded multiple times over. Both performers are simply sensational and you can’t take your eyes off them. Haim, in particular (who had previously worked with Anderson on several music videos) is an absolute delight to watch, whether glowering with rage, reacting to being chatted up (by several characters), or just interacting with her co-star.

Hoffman, in turn, is utterly compelling, particularly when revealing his under-the-surface vulnerability. Gary’s natural charisma and confidence effortlessly bring him business success, but every so often something shatters that veneer and Hoffman is terrific at suddenly making Gary seem like a lost little boy, just for a moment.

There’s also fabulous work from a wonderful supporting cast, some of whom are playing thinly (or not so thinly) veiled versions of Hollywood stars. Stand-outs include Sean Penn as fading movie star Jack Holden (William Holden), Bradley Cooper in a very funny turn as hairdresser-turned-producer – and Barbara Streisand’s boyfriend – Jon Peters, and Christine Ebersole as Lucy Doolittle (Lucille Ball). Similarly, Alana Haim’s entire family (including the other two members of Haim) play the rest of Alana Kane’s family, to highly amusing effect.

Anderson’s direction is free-flowing throughout, frequently reminiscent of his idol, Robert Altman. Alana and Gary’s adventures are largely episodic, yet they still flow together seamlessly, to the point where you never quite get a sense of how much time is passing, almost like a hazy dream. To that end, Licorice Pizza has a relaxed hangout vibe that’s very similar to Tarantino’s Once Upon a Time in Hollywood, only without the violent bits.

The loosely episodic story structure allows Anderson to stage some truly fabulous set pieces, including some all-time great running scenes. The undisputed highlight, however, is an extended sequence involving Jon Peters, a waterbed delivery, a petrol shortage and a truck. By turns thrilling, suspenseful and hilarious, it’s pure punch-the-air cinema, just like the rest of the film.