Punch-Drunk Love
Barry Egan is an isolated man who sits alone at a desk, dwarfed by the interiors of a giant warehouse he works at selling novelty toiletries, wearing a blue suit that seems out of place for his business setting. We are introduced to Barry in long shot as he is talking to someone on the phone about a loophole in a frequent flyer mileage promotion. After hanging up the phone we follow Barry out of the blasé warehouse and into shadows before we hear the sound of a steel door opening, and we're left wincing – like Barry – at the initial harshness of the daylight. Barry squints and reluctantly makes his way to the street where he finds a harmonium. After this weird discovery there is a car crash that sends Barry running back to the safety of his cold, empty and dark interior. Barry is a complex, socially inept person whose social skills seem completely utilitarian (he's not a bad salesman when he wants to be, and he can channel his inner rage at opportune times); he's also deeply disturbed and alien in a world that is inhabited by seven sisters that constantly nag him –needling him about remembering embarrassing past stories until his rage boils over – and wonder why he always wears the same blue suit. This is a tricky character, always on the verge of exploding yet delicate and in desperate need of some reciprocated love. So, who does writer/director Paul Thomas Anderson get to play such a character? Why, Adam Sandler, of course! In one of the most ingenious bits of casting in the past decade Anderson creates one of the most idiosyncratic and engrossing oddball love stories I've ever seen.
