Paul Thomas Anderson films are always such a joy to watch. Ok, maybe not a "joy" in terms of being a pleasant and easy to ingest, but a "joy" as far as observing fine craftsmanship.
Anderson is as assured in his visual storytelling as ever in "Phantom Thread," which teams him with the most assured actor working today (or now retired?) in Daniel Day-Lewis. The film doesn't offer much in terms of plot but serves as a portrait of a master dressmaker, his operation in vaguely 1950s England, and the woman who becomes the focus of his admiration and desire.
Yes, "Phantom Thread" is still a love story despite missing all the obvious trappings. Reynolds Woodcock (Day-Lewis) is a self-proclaimed confirmed bachelor completely dedicated to his craft but capable of being entranced by the right woman for periods of time. He meets Alma (Vicky Krieps) when she serves him a robust breakfast at a restaurant and she quickly becomes his muse. Alma carefully weaves herself into the fabric of Reynolds' work and personal life, even navigating his tight bond with his sister (Lesley Manville). She soon discovers, however, that she must reckon with his controlling, abrasive ways.
There's an elegance to "Phantom Thread" that's more inviting to audiences, though it's a sharp contrast from Anderson's usual California-set stories and American narratives. That elegance goes beyond the film's focus on fashion - though that's certainly part of it - and pervades the entire aesthetic including the camera movement and another exceptional Johnny Greenwood score. Plop Day-Lewis in a frame like that and you immediately have a riveting visual. In fact, these components are enough that Anderson can get away with a loose narrative containing many related scenes but no distinct arc.
Day-Lewis makes anything more interesting and he's in top form here. You get the sense that his role feels lived in - there's a verisimilitude to this and most of his performances that blurs the line between actor and character (which admittedly is kind of the point of method acting). Day-Lewis does give us a bit of a trademark of his in the volatility of Woodcock's temperament, but the grace and his professional demeanor belong to the character.
Acting opposite Day-Lewis and Manville would be a frightening prospect for nearly any actor let alone an unknown like Krieps, but the Luxembourgian actress proves her salt, balancing Alma's naivete, elegance, shrewdness and determination. Although at first presented as the precious doe who is bound to make the same mistakes as Woodcock's past lovers, we see an unexpected fearlessness as their relationship becomes about power dynamics. Krieps is extremely well-cast and it will be curious to see what directions her career goes beyond such a well-suited part.
Although the third wheel, Manville also deserves recognition for bringing refreshing dimension to the part of the shrewish older sister. Usually that role is immediately dislikable, but there's something in the calm of Manville's performance that both complements Day-Lewis and opens us up to idea of Cyril as a human.
Somewhat of a chamber drama, "Phantom Thread" proves nothing is beyond the scope of Anderson's skill set. Certain story pieces and characters can be equated to those in other films, but you might assume at a quick glance that some one-time "Downton Abbey" director made this film, not an American. Do not assume the fashion component and period element is just a chance for Anderson to play dress up - they are well-researched, well-realized and integral to the story being told.
~Steven C
Thanks for reading! Visit Movie Muse Reviews for more
Anderson is as assured in his visual storytelling as ever in "Phantom Thread," which teams him with the most assured actor working today (or now retired?) in Daniel Day-Lewis. The film doesn't offer much in terms of plot but serves as a portrait of a master dressmaker, his operation in vaguely 1950s England, and the woman who becomes the focus of his admiration and desire.
Yes, "Phantom Thread" is still a love story despite missing all the obvious trappings. Reynolds Woodcock (Day-Lewis) is a self-proclaimed confirmed bachelor completely dedicated to his craft but capable of being entranced by the right woman for periods of time. He meets Alma (Vicky Krieps) when she serves him a robust breakfast at a restaurant and she quickly becomes his muse. Alma carefully weaves herself into the fabric of Reynolds' work and personal life, even navigating his tight bond with his sister (Lesley Manville). She soon discovers, however, that she must reckon with his controlling, abrasive ways.
There's an elegance to "Phantom Thread" that's more inviting to audiences, though it's a sharp contrast from Anderson's usual California-set stories and American narratives. That elegance goes beyond the film's focus on fashion - though that's certainly part of it - and pervades the entire aesthetic including the camera movement and another exceptional Johnny Greenwood score. Plop Day-Lewis in a frame like that and you immediately have a riveting visual. In fact, these components are enough that Anderson can get away with a loose narrative containing many related scenes but no distinct arc.
Day-Lewis makes anything more interesting and he's in top form here. You get the sense that his role feels lived in - there's a verisimilitude to this and most of his performances that blurs the line between actor and character (which admittedly is kind of the point of method acting). Day-Lewis does give us a bit of a trademark of his in the volatility of Woodcock's temperament, but the grace and his professional demeanor belong to the character.
Acting opposite Day-Lewis and Manville would be a frightening prospect for nearly any actor let alone an unknown like Krieps, but the Luxembourgian actress proves her salt, balancing Alma's naivete, elegance, shrewdness and determination. Although at first presented as the precious doe who is bound to make the same mistakes as Woodcock's past lovers, we see an unexpected fearlessness as their relationship becomes about power dynamics. Krieps is extremely well-cast and it will be curious to see what directions her career goes beyond such a well-suited part.
Although the third wheel, Manville also deserves recognition for bringing refreshing dimension to the part of the shrewish older sister. Usually that role is immediately dislikable, but there's something in the calm of Manville's performance that both complements Day-Lewis and opens us up to idea of Cyril as a human.
Somewhat of a chamber drama, "Phantom Thread" proves nothing is beyond the scope of Anderson's skill set. Certain story pieces and characters can be equated to those in other films, but you might assume at a quick glance that some one-time "Downton Abbey" director made this film, not an American. Do not assume the fashion component and period element is just a chance for Anderson to play dress up - they are well-researched, well-realized and integral to the story being told.
~Steven C
Thanks for reading! Visit Movie Muse Reviews for more