This is one of the great masterpieces of our time and arguably the great work of Anderson. There were many masterpieces in 1999 and I would have gladly nominated Magnolia for Best Picture ahead of Cider House Rules which somehow seems longer than its 2 and half hours while Magnolia seems shorter than its three hours.

Roger Ebert raved about this movie, calling it operatic in scope and that is a good way to describe it. Only Altman was as good as Anderson here when it came to character pieces in this film. Some derogatorily compared to his Short Cuts and while I see the rationale, one can appreciate - even worship both movies.

It's also one of the most optimistic films in Anderson's repetoire, certainly his most hopeful. There are a couple of horrible deaths by the end of the film but there's also a sense of renewal and possibility that is missing from most of his work.

iS THERE A reason for what happens at the end? Maybe, maybe not. Perhaps the greater link is the segment that opens the film. Perhaps everything that happens is not just a matter of chance. Or maybe it is. I once tried to listen to that long poem the young kid tells Reilly's character early in the movie, thinking it might have some kind of thematic connection. There probably wasn't but you never know.

I can't say this represents the best work of any of the performers in the film, not even Cruise who would do better work before and after. But for all of them it is among the emoitonally rawest of their performances - particularly for Moore and Reilly.. I also know that Aimee Mann was absolutely robbed of an Oscar for Best Song for Save Me which is another in a long line of reasons to hate You'll Be In My Heart.