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A movie can be very good and yet not draw us in, not involve us in the moment-to-moment sensation of seeing lives as they are lived.As a writer and director, Paul Thomas Anderson is a skilled reporter who fills his screen with understated, authentic details."Boogie Nights'' abandons the illusion that characters are enjoying sex; in a sense, it's about manufacturing a consumer product.By the time the final shot arrives and we see what made the Colonel stare, there is no longer any shred of illusion that it is anything more than a commodity.In examining the business of catering to lust, "Boogie Nights'' demystifies its sex (that's probably one reason it avoided the NC-17 rating).Mainstream movies use sex like porno films do, to turn us on.

Behind the office door we see old license plates nailed to the wall, and behind one wall of the set, bicycle wheels peek out.) Anderson is in love with his camera, and a bit of a showoff in sequences inspired by the famous nightclub entrance in "Good Fellas," Robert De Niro's rehearsal in the mirror in "Raging Bull" and a shot in "I Am Cuba" where the camera follows a woman into a pool."I got a feeling,'' Jack says, "that behind those jeans is something wonderful just waiting to get out.'' He is correct, and within a few months Eddie has been renamed "Dirk Diggler'' and is a rising star of porn films.If this summary makes the film itself sound a little like porn, it is not.We meet Rollergirl (Heather Graham), who never takes off her skates, and in an audition scene with Dirk adds a new dimension to the song "Brand New Key.'' Little Bill (William H.Macy) is Jack's assistant director, moping about at parties while his wife (porn star Nina Hartley) gets it on with every man she can.

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