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Boogie Nights complicates this fable of good and evil butmoralizes nevertheless. In Boogie Nights the audience initially identifieswith Eddie, aka Dirk Diggler, a naive idealist held down by a low-payingbusboy job and a harpy mother who takes daily shots at his confidence.Eddie/Dirk knows he is meant for something better but is not quite sure whatthat might be until he is discovered by porn director Jack Horner. As theearnest and ambitious Eddie/Dirk discovers the true worth of his"special talent"--a particularly large physical endowment--theaudience identifies and enjoys the same titillating and fascinating entreeinto a world of beautiful women, poolside parties, and joyful sex. But as thepornotopic seventies come to an abrupt end, marked by a gruesome suicide at aturn-of-the-decade New Year's Eve party, the audience'sidentification with Eddie/Dirk weakens, and the moralizing distance sets in.The audience watches from afar as the none-too-subtle bell tolls forEddie/Dirk and his world, who have abandoned their idealism in a frenzy ofdrugs, murder, and low production values. As the hyperheterosexual Eddie/Dirkis reduced to hustling men on the street, the film reveals its larger moralpoint: the idealistic seventies were ultimately a tragic failure. Thoughdirector Paul Thomas Anderson allows his viewers an unusually generous amountof sexual titillation, the audience ultimately pays for their pleasure viatheir association with Eddie/Dirk. 2ff7e9595c
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