Hard Eight The story of PT Anderson's Hard Eight, as made clear in the second half of the film, is one of redemption. Sidney, played by Phillip Baker Hall, is a former mobster responsible for the death of John's father. Grief-stricken and remorseful, Sidney takes on the role of father figure in John's life. Finding John unfortunate, Sidney takes him under his wing and makes John his apprentice. Teaching John how to play casinos and live the life of a full-time gambler, Sidney begins to love John as if he were his own son. She cares so much about her relationship with John, in fact, that she would kill to protect him. This film was Paul Thomas Anderson's directorial debut. In it, as in his later films, there is a concentration on father figures. The absence of a conventional father figure has been addressed in stories as old as time itself. While Sydney's actions are noble, it is debatable whether she deserves forgiveness due to her dishonesty. Sydney's actions and emotions throughout the entire film reflect those of the typical father. She gets angry when John marries Clementine and doesn't tell her. Her care for John and his life is shown as she watches the video of John and Clementine's wedding, a very emotional scene for Sidney. He also pays for John's mother's funeral, which would normally be handled by family members. He does not approve of John's new friend Jimmy, who is a constant source of Sidney's suspicions. Furthermore, when John finds himself and his new wife in legal trouble, Sidney selflessly sends them out of town, sacrificing his relationship with John for his own happiness with Clementine. This constant theme of father figures fits Raymond Bellour's “Oedipus”… middle of paper… the presence of the father's care for his offspring gives them a higher sense of morality. The idea of ​​fatherhood is something every viewer can understand. Sidney's past crimes in Hard Eight, or Burt Reynolds' excesses and sins in Boogie Nights, can be saved in the hearts of viewers based on this idea. As far as plot and plot go, not every story is Oedipus. However, each narrator's idea of ​​fatherhood and the importance of family are somehow woven into the story. It's what makes each story different, and it's what makes them all the same. Bibliography Alfred Bates, The Drama: Its History, Literature and Influence on Civilization, vol. 1 New York: Historical Publishing Company, 1906, pp. 123-126Raymond Bellour, Psychoanalysis and the Classical Hollywood Text.Journal of Popular Film & Television (1990): 7