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As she read the screenplay for what would become Anderson’s warm and nostalgic ninth feature, Haim thought he had sent it to let her know he had named a character after her. “I was honestly just flattered that he was using my name,” she said. “Because when you think about Paul Thomas Anderson movies, the names are so incredibly iconic,” she said, citing the porn star Dirk Diggler of “Boogie Nights” (1997) and Reynolds Woodcock, the tempestuous fashion designer that Daniel Day-Lewis portrayed in “Phantom Thread” (2017). “I mean, I like my name, but do I think my name is iconic? Not when you put it next to, like, Reynolds Woodcock. But I was flattered. I was like, ‘Paul’s going to use my name in a movie.’”
Gary Valentine might be younger than the likes of Reynolds Woodcock, Doc Sportello, and Frank T.J. Mackey, but he isn’t necessarily any less mature. A latchkey goofball who looks after his little brother like a step-son and starts no fewer than three separate businesses over the course of this film with Alana’s help (some of them moderately successful!), Gary either understands how things work better than anyone. He’s like the fish at the poker table who keeps winning hands because he doesn’t know enough to fold. “Just say yes,” he advises Alana while prepping her for a meeting with a half-cranked talent agent played by “Phantom Thread” showstopper Harriet Sansom Harris, “you can always learn how to do something once you get the part.”
Which brings us at long last to Alana Kane — and to the incredible first-time actress who launches her into the crowded pantheon of Anderson’s greatest characters. What kind of twentysomething woman pals around with a pubescent 15-year-old boy? It’s a question that “Licorice Pizza” doesn’t frame head-on or with the tsk-tsking judgment that some people demand from their art these days, but it’s also one that Anderson is asking whenever Alana is onscreen. Why is Lancaster Dodd so drawn to a fuck-up like Freddie Quell? Why does Reynolds Woodcock go all ham-eyed over a humble country waitress named Alma? Why does a sweet thing like Lena Leonard need Barry Egan as much as (cue the “Popeye” song) he needs her, he needs, he needs her? Because it’s mutual. Because the universe only calls so often, and life’s too short to hang up the phone.
