Boogie Nights is a 70s joyride through LaLa Land's porn scene—a fresh twist on extended family and the curious ties that bind.  Writer/director Paul Thomas Anderson presents a story that coolly dismisses accepted societal standards.  He populates his screenplay with empty souls who follow their own (a)moral code, yet instead of alienating the audience, he convinces it to care. 

An underlying story structure is the key component to the film’s success.  Following the four perspectives that constitute a Dramatica grand argument—the overall story, the main character story, the impact character story, and the main vs. impact characters’ story, however, may be somewhat difficult when the plot progression rambles.  For example, after Dirk Diggler (main character) and Jack Horner's (impact character) falling out, the main vs. impact story steps aside for a considerable amount of screen time in favor of the other three story throughlines.

Still and all, dressed in its polyester double knit best, Boogie Nights turns story into film art as the acting, cinematography, soundtrack, and so forth spins you through its disco party.  What follows is a rolleroid snapshot of this Goodfellasesque epic:

Pornographic film director Jack Horner opens the door to his private paradise for the overall story’s setting.  "It resembles the Jungle Room at Graceland" and comes complete with Jacuzzi, swimming pool, and basement film studio.  Talent resides at this secure (overall story thematic issue) fun-house, where white lines and Cuervo Gold distort reality.  It is here in which an industry in flux (story goal of how things are changing) is debated:

Floyd
The video revolution is upon us—and our role is critical.

Colonel
Jack, please understand that this is not an argument . . . this is a fact (overall story catalyst) or—

Jack
What?

Colonel
I think that there is a serious case to be made for the price and the gamble on the whole idea of a home video market . . . two, three years from now, everyone's gonna be able to walk into their local supermarket and buy or rent a videocassette . . . film is just too damn expensive . . . the theaters are already planning converting to video projectors.

Jack represents manipulation (impact character throughline).  He has the ability (impact character thematic issue) to direct "stellar, sexual standouts" but his true desire (impact character thematic counterpoint) lies in making smut films with stories.  Jack discovers (story driver—action) the next big thing, Dirk's big thang, and the main vs. impact throughline sets in motion as each has a fixed attitude about what it means to be director and actor.

Sweet-natured and trusting (main character symptom), Dirk is an activity character (main character throughline), whose first approach to a problem is to work it out externally (do-er).  His logical problem solving style has led him to an environment where he can be a “big, bright, shining star."  An inexperienced (main character thematic counterpoint) actor, Dirk's raw skills (main character thematic issue) are applauded in the adult film world: "Diggler delivers a performance (main character concern-doing) worth a thousand hard-ons."

The positive aspects of the auteur and his porno prodigy are illustrated in the main vs. impact character thematic issue of confidence.  Jack is certain of Dirk's value (main vs. impact story catalyst).  He is amenable to the kid's ideas, e.g., coming up with his own stage name and developing his own action series: Brock Landers: Angels Live in my Town.

The main vs. impact story concern is explored in the area of impulsive responses where Dirk's anywhere, anytime, sexual impulses ("I can do it again if you need a close-up") are shot under Jack’s direction.  The fantasy world he fabricates for Dirk eventually inhibits their relationship.  Dirk boasts he blocks his own sex shots ". . . and he [Jack] gives me flexibility to work with the character . . .”  Diggler’s vanity is pricked as Jack laughs these assertions off.

Jack's tolerance (main vs. impact story problem of accurate) of Dirk's escalating ego and cocaine habit reaches its limit, illustrated when Dirk, strung out, screams, "YOU'RE NOT THE BOSS OF ME!" (main vs. impact story solution of non-accurate) and Jack immediately fires him (overall story consequence of impulsive response).

Anderson deftly indicates how the effects (overall story problem) of the overall characters' individual situations (overall story throughline) create dilemmas for them: the effect Amber Waves' career choice has on her custody battle (no visiting rights), the effect Little Bill's wife's flagrant sexual escapades have on her husband (murder in cold blood), and particularly, the devastating effect Dirk has on Scotty (heart wrenching humiliation).

For Dirk, doing the hustle no longer means choreographed booty shakes—it’s risky street business with ill effects (main character problem).  Trapped in a nightmarish parody of his own action films (Guns! Firecrackers! Sister Christian!) Dirk finally realizes he has no other option (overall story limit) but to stop (main character growth) his wayward course.  Only he can be the agent (main character solution-cause) of his change (main character resolve)—a solution shared in the overall story.

Stripped of his pride, Dirk wises up (main character unique ability) and stumbles back to his Hollywood home.  By this time, Jack has resolved his own problem of sticking to the proven method of producing porno on film to successfully (story outcome) using videotape (impact character solution-unproven).

Preparing for his next feature with Jack, Dirk's angst has evaporated (story judgment-good).  He is cool.  He is sexy.  He chants to his mirror image—“I'm a star, I'm a star, I'm a star, I'm a star, I'm a star, I'm a big bright shining star”—and karate kicks to the credits.

All quotations from the Boogie Nights shooting script.

Please Note: An earlier version of this article is published on www.Dramatica.com