By Marc S. Sanders
Not one of Paul Thomas Anderson’s films are alike. In each picture, the characters speak differently. They specialize in areas completely separate from anything else. The porn industry is a far cry from oil drilling for example, and neither has any commonality with that of independent American revolutionaries, as featured in One Battle After Another.
Leonardo DiCaprio plays Pat Calhoun, a determined underling of a revolutionary band known as the French 75. Their will is to free illegal immigrants from a California fenced lock up, or plant mild explosives in government buildings or rob banks as modern day Robin Hoods. It’s all one battle after another. Each mission seems to be executed more for the excitement and thrill, rather than any kind of just cause.
Together with Perfidia Beverly Hills (Teyana Taylor, and yes, that is the character’s name, Perfidia Beverly Hills) he bears a daughter named Charlene (Chase Infinity). Though Pat wants to assume a new identity and settle down, Perfidia opts to continue with her purpose. When she is apprehended, she is persuaded to disclose the whereabouts of her fellow comrades. In exchange, Perfidia is granted witness protection. Exactly, who and what did the figurehead of one Perfidia Beverly Hills stand for?
One Battle After Another carries a long prologue that sets up all of these characters. Once they go in different directions, Anderson’s film jumps forward sixteen years later when Charlene is an optimistic teenager yearning to be a regular student at public school. The school dance is on her mind. Her father Pat is paranoid of her being out and does not take kindly to the kids she’s hanging with. Despite the weird makeup and piercings, there’s really nothing wrong with them. At least Charlene is not so apt to take any of her dad’s paranoia seriously.
Colonel Stephen J Lockjaw (a great character name for an antagonist), played by Sean Penn, carries an intimidating, militant focus. He leads the charge against the French 75. He ensures capture or death in the field to halt their activities. His vice, though, is specifically his obsession with Perfidia. Yet, the tryst he shared with her can never be revealed if he is to pass the recruitment test for entry into the very exclusive, white supremacist organization known as The Christmas Adventurers Club.
Pat has trained his daughter to respond to certain codes, and to be alert if a pocket device should ever light up as an emergency. Ironically, Pat, now known as Bob, can’t even remember all of the code speak. Too much pot smoking and laziness has numbed his senses. Lockjaw has zeroed in on Pat, and particularly Charlene who actually may be his daughter. It’s important he locate her because her skin color could compromise his reputation and his chances of joining the Club.
I was eager to see One Battle After Another when it was first released in theaters. It had been getting very good word of mouth, and other than a few exceptions, I’ve been a big admirer of Anderson’s work. Regrettably, in a comfortable Dolby theatre with the best sound system available, I could not help but fall asleep. When I watched the film on HBO MAX, a few months later though I was exhilarated.
The film seems to start in the middle of an already long-winded story. The prologue hops around from one mission of the French 75 to another and there is minimal character development. None of the dialogue is special either. On a first viewing I think it’s challenging to piece together who is who, what they stand for, what they mean to one another, and what becomes of them.
When the script jumps sixteen years later, the picture serves like a straight out chase story with a callously cold “Javert” seeking out his “Jean Valjean” who hides with his adopted “Cosette.” The last two thirds of One Battle After Another seem to start an entirely new movie.
A common tactic of Anderson is to rapidly swing his camera with a kinetic and urgent pace; minimal cuts. This especially drives his film as the pursuit is depicted with fear, desperation and unintended comedy. Poor Pat, or “Bob” cannot recall how to accurately reply to the code speak on the other end of a telephone line. He’s separated from Charlene, and Lockjaw is figuring everything out beginning with discovering underground tunnels located in the rendezvous town that many former members of the French 75 have taken up shelter. Benicio Del Toro, as a karate instructor, is one of the people. He’s a mentor for young Charlene.
I’m not sure if Paul Thomas Anderson is trying to deliver any kind of thought-provoking message. Though he associates Sean Penn’s character with white supremacists, I cannot naturally accept that Anderson is saying this gang of powerful, tuxedoed men of a wealthy one percent adhere to any political party or agenda. As well, Anderson does not seem to be applauding the actions of Perfidia, Pat, or the French 75, whose mantra especially falls apart when an innocent casualty is killed by one member’s hand.
One Battle After Another could simply be a blender mix of ideas with blind missionary work from all of these different sects. None of these soldiers serve a greater good. Their arguments only work to hammer back at whoever has disdain for the other. No one is inspiring anything that will promise a better future for America.
As I write this review, it occurs to me that perhaps Paul Thomas Anderson demonstrates that whatever action people like Pat and Perfidia or Lockjaw commit, it’s all but defeatist. Eventually, the cause wisps away, but the battle must persist. The battle is all these people have and live to serve, not a resolution or even a conquest. Fight, accomplish, and now what’s next?
One Battle After Another is not Paul Thomas Anderson’s best work, though it is exciting to watch with outstanding editing as a car chase arrives near the end of the story. I cannot say I was taken with any of the performances. Penn and DiCaprio are living up to the demands of their characters but there’s nothing outwardly sensational in what they are doing here. I’m also perplexed by the raves that Del Toro is getting for this film. It’s a small role with little to do. I do not recall one moment of acting greatness, nor a memorable line from his part.
Teyana Taylor and Chase Infiniti deliver breakout performances, however. Infiniti, in the role of the daughter, shows vulnerability, and later strength, when the story calls for it. Watch the fear and drive when she reunites with DiCaprio’s character on a barren road in the desert. She’s got a real intensity in her eyes and expressions. Taylor seems like she’s a heroine yanked from a Tarantino picture. A really impactful performance whose biggest contribution is in the beginning of the film. Sean Penn is a good scene partner for her.
Released in 2025, One Battle After Another seems like it would be ripped from the everyday headlines of ICE activities, government protests, and the revolts against those missions. I feel like Anderson’s film only gives a small glimpse into these very complex worlds, though. Other pictures like Boogie Nights, Magnolia and Phantom Thread are much more expansive with their universes of unusual industries like pornography, Hollywood social stature and the demands of dress making artistry.
I guess I’m saying I really didn’t learn much from One Battle After Another. So, forgive for saying that I’m underwhelmed.
2 UNPAID MOVIE CRITICS!!!! 