The movie that was “a revelation” for Tom Hanks
Tom Hanks, one of Hollywood’s most celebrated and endearing stars, is known for his remarkable performances across a wide array of genres. From his touching portrayal of a man suffering from AIDS in Philadelphia, his heartrending performance as a stranded FedEx executive in Cast Away, to his nostalgic role in Forrest Gump, Hanks has graced our screens and branded himself onto the collective consciousness with his impressive versatility. However, when it comes to discussing a film that genuinely altered his perspective, Hanks offers an alternative side of his creative view.
In an industry that routinely rehashes old ideas, a sense of revelation arrives when something special is formed. While Hanks’ own filmography spans the spectrum of drama, comedy, romance and adventure, his pick isn’t something one might instinctively associate with the charismatic actor. His “revelation” isn’t a feel-good family film or an epic drama ripe for basking in its own Oscar glory. Instead, it’s a raw, gritty exploration of an industry far from Hollywood’s polished veneer – the porn industry.
During an interview with the German publication Bild, Hanks revealed his admiration for the 1997 film Boogie Nights, directed by Paul Thomas Anderson. This dive into the porn industry’s “Golden Age” in the 1970s isn’t the kind of movie you’d expect to find in Hanks’ personal favourites. Yet, in Hanks’ own words, “That film was a revelation for me”.
Anderson’s film delves deep into the porn industry, with Mark Wahlberg portraying the fictional character Dirk Diggler, who is loosely based on the real-life ‘King of Porn’, John Holmes. It’s a film that intricately explores the complex dynamics of the era, offering an unfiltered examination of its characters’ rise and subsequent fall. It shatters the illusion of glamour, revealing a far grittier, darker side to the industry, complete with suicide, armed robberies and the scourge of AIDS ravaging a community.
The revelation Hanks speaks of, whilst not clarified, could refer to a number of things. It could be Anderson’s ability to take a subject typically met with either prejudice or sensationalism and treat it with an unexpected level of depth, sophistication, and human empathy. Or it could be the vivid portrait of a troubled young hero, Dirk Diggler. Perhaps it’s the way the auteur depicted 1970s California, a time and place that Hanks would have been more than familiar with.
Or maybe it’s because, like much of Hanks’ own career, Boogie Nights is an uncompromising testament to the transformative power of cinema to humanise, empathise, and give a voice to those who have for far too long been silent. Hanks’ endorsement of Anderson’s revelatory second feature complements the director’s storytelling abilities and affirms Hanks’ eclectic taste and deep respect for compelling narratives — irrespective of the genre.
It underscores his appreciation for films that push boundaries, challenge preconceptions, and engage audiences in a way that doesn’t pander to the lowest common denominator. For over three decades, Hanks has been Hollywood’s most likeable stars. His love for Anderson’s movie gives us one more reason to keep loving him.
