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Magnolia

Magnolia is a kind of episodes for American Pastoral, where the American dream is criticized, ridiculed, and denied at the bottom of deep respect.

Partridge is dying, and his young wife would like to see him reconciled with his son, Franck, a kind of sex guru to a television screaming, he has agreed to be interviewed by a journalist not inclined to passively suffer verbal dell'autoeletto demigod and the papers in order to drag it down from Olympus surrogate that was invented. Stanley is one of the most educated children of America, or perhaps it would suffice to say padded sterile notions of forced and constant frustrations, starting with those that should be tolerated by his father, who forces him to engage in endless and humiliating game shows.

disturbing, verbose, prolix, pessimistic and well-acted, full of crazy characters and seemingly desperate, but still very viable, proceeds in a long (very long) to the famous climax of weird, cathartic rain of frogs, meaning symbolic (?!?) so tight that even the supporting cast seems ambiguous, it does not agree in the reactions to the event: some are rappacificante, more terrible, as the day of we're all waiting. Confusing, perhaps overstated, certainly interesting.

Tom Cruise is alienating in this novel as macho, confirming the idea of \u200b\u200bbeing an actor is not suitable for all roles, and specifically to those politically incorrect (subject to foray into the world of evil with the vampire Lestat). Julianne Moore is perfect, as always, but unlike on other occasions here lacks the ability to assert its ability emotional (Far From Heaven) and its ironic (An Ideal Husband). Wonderfully rothiana the cohort of small children prodigy. To see, at least once.