http://www.missouri.edu/~filmstud/courses/ger131/Magnolia.htmAt other crucial junctures in the movie Aimee Mann's songs are again integrally connected to the plot. In a particularly poignant sequence, the soundtrack music becomes eerily diegetic. Just after Phil has given Earl the dose of liquid morphine, the scene cuts to Claudia sitting in her apartment. As the song "Wise Up" ("It's not going to stop") begins playing, Claudia sings along softly. As the song plays from beginning to end, the film cuts from one main character to another and each of them sings along with the song in the same manner. In this sequence the film even temporarily assumes the musical genre mode, particularly in the scene at the Partridge house, where both Phil and Earl, lying deathly ill in bed next to him, sing along. This break in the film's adherence to cinematic realism follows the set of scenes where each of the main characters begins to breakdown under the pressure of the memories and lies they are carrying with them (the title of the chapter on the DVD containing these scenes is "Meltdown"). The message of Mann's song is an admonition to the main characters:
It's not what you thought
When you first began it
You got what you want
Now you can hardly stand it though
By now you know it's not
Going to stop
It's not going to stop
It's not going to stop
'til you wise up
The text applies to all the characters. To those who have become successful in the entertainment or promotion business
(Earl, Jimmy, Frank) it is the old theme of fame and wealth does not bring happiness, and often leads to deep unhappiness. But in some way or another it applies to all the main characters. And in doing so, it draws the question "what is not going to stop?" more broadly and marks it as a larger, philosophical question.
And a review:
http://www.citypaper.net/movies/m/magnolia.shtmlThis overwhelming lack of compassion is transformed in the film’s semi-finale, in which the principals, each in his or her separate scene, sing along with Aimee Mann’s "Wise Up," whose lyrics advise forgiveness for what seem unthinkable offenses. Mann’s delicately pained soundtrack songs hold the film together throughout. The tracks form more than a tie-in CD, demonstrating a mutually respectful collaboration among Anderson, Mann and music producer Jon Brion.