Paul Thomas Anderson has always tried to tackle the true evils of society. He depicted a ruthless oil baron exploiting his son for money in “There Will Be Blood.” He addressed the evils of cults like Scientology in “The Master.” And in his latest film, he gives a voice to all the frustrated revolutionaries of today, fighting against the atrocities in modern society.
“One Battle After Another” follows two revolutionaries, Perfidia Beverly Hills (Teyana Taylor) and Pat Calhoun (Leonardo DiCaprio), who face off against an insane military officer, Lockjaw (Sean Penn). After a series of close encounters, Calhoun is forced to go into hiding with his newborn daughter, Willa, until 15 years later, when Lockjaw’s hunt for the anarchist couple reignites. Our heroes travel the countryside, fighting corruption and evil in any way they can while attempting to reunite with their loved ones.
The movie examines modern society, exploring loneliness and the endless feeling of desperation that can come with navigating the American government. The film’s name itself, “One Battle After Another,” connects to the idea that revolution and fighting for what is right is a never-ending war, people simply move from one battle to the next.
This idea is also expressed through the film’s pacing. While the movie runs for almost three hours, the plot moves very fast, using punchy dialogue and montages to deliver large amounts of information early on in the plot. While these elements could rush the plot, Anderson allows for slow scenes mixed with well-written conversations to help balance the runtime.
At the same time, the film itself often feels like a timed explosion waiting to go off. Each of the three acts begins by throwing the heroes and villains in different locales. The audience must watch as they desperately scramble to survive, waiting for the proverbial shoe to drop at each of their encounters. The final set-piece of the film especially exemplifies this tension, with viewers hoping their expectations do not become reality.
These moments, however, would not be as strong if not for the villain, the psychotic Lockjaw. Penn delivers another Oscar-worthy performance in this film, acting as the main antagonist. He plays an extremely self-serious military officer with so much shame, hiding dark, depraved secrets he would hate his superiors to know, all while treating them like gods, kissing their metaphorical feet at all times.
Juxtaposing Lockjaw is the unfiltered, chaotic and wayward Calhoun. This film is DiCaprio at peak insanity, bringing moments of extreme chaos to tense and urgent scenes. When he is not screaming utter nonsense, he is jumping around, perpetually lost in this world of rebellion he left decades ago. He acts as the audience’s conduit, feeling the same sense of disorientation and desperation as he attempts to return to his daughter, the one piece of his family he has left.
Chase Infiniti gives another stellar performance as Willa Ferguson, the daughter of Taylor and DiCaprio’s revolutionary couple. Growing up in a post-rebellion world, she is forced to deal with the unknown consequences of her parents’ actions. As the film progresses, she slowly becomes the main protagonist, fighting the villains of her family’s past and coming into her own as a young rebel.
Oftentimes, children in these kinds of dramatic films have no agency and act as objects for the heroes and villains to fight for. Infiniti excels in breaking this stereotype, delivering a complex performance of an angry, lost, but still compassionate young woman. By the end of the movie, she is able to hold her own against her family’s enemies and become her own person beyond her father.
In a sea of stellar performances, Taylor’s portrayal of Hills stands out. Her name is the least interesting thing about her, as Taylor portrays a dynamic, loud and chaotic personality. Her motivations to become a rebel seep into every facet of her life, guiding her on a path that keeps audiences entirely focused on her. She commands every single moment that she is on screen, leading every conversation, ruling every fight and entrancing every viewer with her persona. Though her time in the film is short, every minute makes it more beautiful.
The film’s composer, lead keyboardist of Radiohead and frequent collaborator of Anderson, Jonny Greenwood, employs a range of eclectic instruments, like a xylophone and a marimba, giving the story a chaotic yet gripping sound.
“One Battle After Another” is a powerful and emotionally-charged character study, letting viewers see the realities of rebellion in today’s world. While it may seem extremely difficult at times, feeling like a never-ending war, the film shows that there are always those willing to fight, willing to pass their stories on, and willing to help one another.
