Paul Thomas Anderson and Thomas Pynchon have once again teamed up in a compelling creative partnership. Following the adaptation of Pynchon’s Inherent Vice in 2015, Anderson now takes a more liberated approach with Pynchon’s 1990 novel, Vineland. The result is a uniquely bizarre action thriller infused with pulpy comic book energy and a sense of political urgency, consistently keeping the pedal to the metal.
The film offers a fresh take on the recognizable Anderson-Pynchonian themes of counterculture and resistance, blending the paranoid nuances of American politics with a screwball comedic sensibility. The jarring, nerve-wracking score by Jonny Greenwood amplifies this eclectic mix. At its core, the film also delves into father-daughter dynamics, reflecting on the separation of migrant families at the US-Mexico border and providing a serious commentary on the nation’s opaque ruling elite and the normalized practices of Immigration and Customs Enforcement (ICE).
Pynchon envisioned the 60s subversiveness carrying over into the contested Reagan era of the 80s, and Anderson skillfully bridges these decades into the present. While he doesn’t explicitly invoke terms like MAGA or BLM, the film resonates with contemporary relevance.
Leonardo DiCaprio portrays Bob, a scruffy revolutionary who faces his own chaotic journey, often running through the streets in a bathrobe, lamenting the inability to charge his phone. Bob is part of a heavily armed activist group that targets migrant detention centers along the Mexican border. His role is to set off fireworks, serving as both a distraction and a celebration, while his comrades, including the tough Deandra (Regina Hall) and the thoughtful Howard (a cameo from composer Paul Grimstad), take on more prominent roles.
Bob is deeply devoted to his partner, Perfidia (Teyana Taylor), whose fierce persona captivates and controls the reactionary Col. Steven Lockjaw, played by Sean Penn with a charm that’s as sinister as it is captivating. Perfidia’s strategic use of Lockjaw’s infatuation raises questions about power dynamics and how far one can push the limits.
As the narrative unfolds, Bob finds himself as a single father to a daughter he believes to be his, the astute sixteen-year-old Willa (Chase Infiniti). Trained in martial arts by her mentor (Benicio del Toro), Willa grapples with her mother’s legacy while Bob becomes increasingly lost in a haze of drugs and alcohol, stuck in nostalgia as he clings to old revolutionary thoughts.
One Battle After Another is a whirlwind of themes, balancing seriousness and absurdity, excitement and confusion. It captures the essence of an ongoing cultural struggle, cleverly presented as an adrenaline-fueled action film, complete with expertly choreographed car chases and a mesmerizing final sequence showcasing three cars traversing undulating hills. The central conflict around paternity raises broader questions about identity and ownership in the American dream.
In a climate where dissent is often sidelined, this film stands out as a bold exploration of discontent and the solitary heroism of wanting to be different.
One Battle After Another hits theaters in Australia on September 25 and in the UK and US on September 26.
