25 years ago, Boogie Nights arrived in theaters, introducing audiences to a promising-turned-renowned filmmaker (Paul Thomas Anderson) and showcasing a fantastic ensemble of young breakout performers (Mark Wahlberg, John C. Reilly, Philip Seymour Hoffman), rising character actors (Don Cheadle, William H. Macy, Julianne Moore) and Hollywood veterans (Burt Reynolds, Philip Baker Hall) in an endlessly entertaining depiction of the Golden Age of Porn.
Laced with colorful period detail and a vibrant wall-to-wall soundtrack of pop, disco, and Motown, Anderson’s sun-soaked chronicle of the San Fernando Valley in the late 1970s illustrated a seemingly halcyon time in American culture. As the film’s trailer posits, it was an era when “sex was safe, pleasure was a business, and business was booming.” We used to be a proper country, Boogie Nights seems to suggest.
Anderson filters all the ostensible love, optimism, and prosperity from that period through the partnership between high school dropout Eddie Adams (Wahlberg) and popular porn director Jack Horner (Reynolds). On one fateful night at the Reseda nightclub Jack frequents and Eddie works at, Jack recruits Eddie to act in his next slate of films. Cursed with a dysfunctional home life in Torrance but gifted with a large appendage, Eddie decides to inhabit the role of Jack’s muse, successfully transforming into the porn persona Dirk Diggler.
Joining Jack’s loving if transgressive surrogate family, Dirk immerses himself with hapless single mother Amber Waves (Moore), radio salesman Buck Swope (Cheadle), aspiring magician Reed Rothchild (Reily), cucked assistant director Little Bill (Macy), awkward gay boom operator Scotty (Hoffman), and the startlet Rollergirl (Heather Graham).
Dirk’s youthful sexual potency represents both a beacon of creative and economic potential for Jack and an avatar for Anderson’s own hot-shot ingenuity — the writer-director made Boogie Nights at 26 years old. Like Dirk, everyone faces some form of professional, domestic, or romantic rejection that deepens their desire for autonomy as much as it sets them each on a path toward disappointment or self-destruction.
“There’s Practically No End to How Much Money You Can Make”
As Boogie Nights moves into its cynical, often grueling second half, set during the conservative, materialistic Reagan years of the ‘80s, the greedy, seedy exploitation and drug-fueled violence lingering underneath the adult film world comes into full focus.
Profits are prioritized over spirit and vision. Production companies shift from the textured grain of analog film to the garish lo-fi aesthetic of VHS. Even the language around consent and boundaries on Jack’s sets changes from enthusiastic and straightforward to reluctant and perfunctory. There’s no more pleasure in the “pleasure business,” and Dirk, Jack, and everyone else start to unravel because of it.
Boogie Nights illuminates so many wonderful, profound insights about identity, purpose, and unfulfilled dreams, but what’s perhaps most interesting and prescient about the 1997 classic is its examination of the tension between art and commerce. That conflict between wanting to make something and being confined to the financial and creative demands of the times not only spoke to the evolving technologies and dueling ideologies that bookended those decades, but also reflect our current media landscape as well.
The dominance of streaming services over the past decade, for example, has essentially reduced storytelling into content. While lots of great stories have come out of the streaming world, the business model for it tends to favor and market narratives dictated by an algorithm over ones that could make more of a cultural impact.
Yes, there is more access to watching and talking about television and films than ever before, and yet there is also a distinctive loss in how we experience stories nowadays, especially when everything seems to be reverse-engineered to become social media fodder.
It can be argued that porn is simply content too, a mere spectacle meant to be quickly consumed and disposed of, but Jack’s films show that porn can have just as much artistic merit as any other mainstream piece of art. Crude and often silly as they are, they clearly have a fun, scrappy energy to them that communicates Jack’s yearning to make movies that are “true and right and dramatic,” a line he tells Dirk early in Boogie Nights.
