Phantom Thread * * * *
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| Seduction through dressing rather than undressing. |
Paul Thomas Anderson has given us some of the best and (I was going to say worst, but I mean unwatchable) films of our time. Among his best is, Boogie Nights, Magnolias, There Will be Blood, The Master. Among his worse (in my opinion) is the unwatchable film he gave us before this, Inherent Vice.
But you can always expect something different from Paul Thomas Anderson. He has his own uncompromising vision. For me, his scorecard of quality far outweighs his odd dud, and you can put Phantom Thread on the positive side of the ledger.
It's a lush and visually beautiful film, both seductive and repellent, as are the principal characters.
Set in England in the 1950's, it is the fictional story of Reynolds Woodcock one of the grand dressmakers of that period. His, was a clientele of the rich and the aristocratic.
Whilst on a short holiday he meets a young woman, half his age, and that same night seduces her; not physically but with his talent, as he demonstrates how he would make a dress for her.
She quits her job as a waitress and moves into his home (which is also his studio) which he shares with his dominating sister and his many ateliers.
Their relationship has all the emotional and intellectual advantages and disadvantages of the older man / younger woman relationship, except for their sexuality. Interestingly this is not shown or discussed.
We witness their relationship go from the honeymoon to mutual contempt to a shocking and surprising procedure of debilitating compromise which she invents.
Daniel Day Lewis plays Woodcock and he is perfectly cast. Dreadfully handsome, he uses his bearing to command all aspects of his professional life, including his clientele who willingly defer to him so that they might wear one of his creations. One of my favourite scenes is when his young wife's effusiveness couples with his arrogance and they physically take back a dress that a client is wearing as she is not worthy of it. "No woman should be seen drunk whilst wearing a Woodcock creation"
The greater part of the film is set in the house and the studio and much time is given over to watching him work - all of which is absolutely fascinating, as the extraordinary craftsmanship and pressure to meet deadlines is conveyed.
The story is psychologically deep and revealing as we realise his almost oedipal relationship with his deceased mother and his dependence upon his wise sister.
But Paul Thomas Anderson has his own way of telling a story so do not expect a simple narrative here or conventional scenes. Conduct of characters, camera angles, emphasis on words and (at times) relentless music are all part of the recipe.
In the end I found Phantom Thread a rewarding and lingering experience.
But you can always expect something different from Paul Thomas Anderson. He has his own uncompromising vision. For me, his scorecard of quality far outweighs his odd dud, and you can put Phantom Thread on the positive side of the ledger.
It's a lush and visually beautiful film, both seductive and repellent, as are the principal characters.
Set in England in the 1950's, it is the fictional story of Reynolds Woodcock one of the grand dressmakers of that period. His, was a clientele of the rich and the aristocratic.
Whilst on a short holiday he meets a young woman, half his age, and that same night seduces her; not physically but with his talent, as he demonstrates how he would make a dress for her.
She quits her job as a waitress and moves into his home (which is also his studio) which he shares with his dominating sister and his many ateliers.
Their relationship has all the emotional and intellectual advantages and disadvantages of the older man / younger woman relationship, except for their sexuality. Interestingly this is not shown or discussed.
We witness their relationship go from the honeymoon to mutual contempt to a shocking and surprising procedure of debilitating compromise which she invents.
Daniel Day Lewis plays Woodcock and he is perfectly cast. Dreadfully handsome, he uses his bearing to command all aspects of his professional life, including his clientele who willingly defer to him so that they might wear one of his creations. One of my favourite scenes is when his young wife's effusiveness couples with his arrogance and they physically take back a dress that a client is wearing as she is not worthy of it. "No woman should be seen drunk whilst wearing a Woodcock creation"
The greater part of the film is set in the house and the studio and much time is given over to watching him work - all of which is absolutely fascinating, as the extraordinary craftsmanship and pressure to meet deadlines is conveyed.
The story is psychologically deep and revealing as we realise his almost oedipal relationship with his deceased mother and his dependence upon his wise sister.
But Paul Thomas Anderson has his own way of telling a story so do not expect a simple narrative here or conventional scenes. Conduct of characters, camera angles, emphasis on words and (at times) relentless music are all part of the recipe.
In the end I found Phantom Thread a rewarding and lingering experience.
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