Phantom Thread

I approached Phantom Thread with a sense of quiet optimism. The latest film from autuer Paul Thomas Anderson purpotes to be the final on-screen screen performance from actor Daniel Day-Lewis. The potential of these two reuniting is an enticing prospect. After all, their previous effort together led to one of the greatest films of all time, There Will Be Blood. There is also the sense of course correction on Anderson's part. After the criminally underrated The Master, Anderson dabbled in experimentation with Inherent Vice, a garbled and confused film that was visually uninteresting and a complete mess from a thematic and story-telling perspective. And it's become something of a punchline between myself and another film friend. So there's a lot stacked against Phantom Thread. Can it live up to be a worthy send off for Daniel Day-Lewis and can it re-align Anderson as one of the most brilliant filmmakers of his generation? 

Answer: yes, and more so.

Phantom Thread is absolutely brilliant cinema and a very early contender for my film of the year

I'll get the obvious out of the way - Daniel Day-Lewis is absolutely spectacular as Reynolds Woodcock. When news first broke that the actor and Anderson would be reuniting, I had in my head a new character similar to Daniel Plainview, so powerful was Day-Lewis' performance in that film. The good news is that Woodcock is very different kind of powerful male in this film. He is ferocious but in a spoiled brat kind of way. He is softly spoken, precise in all of his actions, deeply misses his deceased mother and is kept under the watchful eye of business partner/sister Cyril (a brilliant turn from Lesley Manville who manages to subvert many expectations of this character type). Woodcock is a high-end dress maker, arguably one of the best there is, living in post-World War Two London. He and his sister are at the epicentre of the British fashion industry, designing clothes for royalty, rich socialites, and other wealthy people all complete with their own distinctive designs. The kind of cult that surrounds him though is akin Philip Seymour Hoffman's gaggle from The Master. Woodcock loves his work, a little bit too much. He has a hard time connecting with people and discards long term relationships like rubbish. 

Life for Woodcock completely changes though when he meets waitress Alma on one of his countryside retreats. The two share an instant bond as Woodcock whisks her away back to London to become his creative muse. However, Alma soon discovers that life with Woodcock is far from easy. Relative newcomer Vicky Krieps more than holds her own against Day-Lewis, giving Alma a sensitive intensity as she tries to to unravel the mystery of how Reynolds ticks. Krieps, like Manville, manages to take this stereotypical archetype to fascinating new places as her character begins to push out against the tight, constricted world of Woodcock. It does essentially morph into Alma's story and Anderson keeps on mounting the surprises with this character. Phantom Thread is ultimately about two toxic people leeching off each other and I think the optimism can be more read as more ironic. 

Daniel Day-Lewis gives a wonderfully bizarre and idiosyncratic performance that is reportedly his final film role before retirement

The way the narrative unfolds is genuinely fascinating. The film sets itself up to be a story of a male-dominated relationship with the naive female character in tow following his every command and trying to unpick him. However, it soon becomes apparent that Anderson is not interested in this tired, misogynistic narrative. Alma soon begins to gain her own form of control over the relationship as the film becomes much more about the shifting power dynamics in what becomes an unhealthy affinity for one another. This is where the film veers into some very odd territory that becomes truly telling about its characters. You'll never feel like breakfast quite the same way again.  

Honestly, the whole thing is quite brilliant. There's a delicate beauty to every scene, as intricate as one of Woodcock's latest fashion projects. The film retains this hypnotic dream-like haze as Anderson's camera glides across the very limited space of a 1950s London town house. Spending most of a film in a tight and confided space doesn't sound immediately appealing but Anderson finds new and exciting ways to beautifully shoot this location. Gothic in its use as part of the wider narrative, the house is just as important as the characters. Even when we venture outside Woodcock's home, there is just this twilight air to every location - the one shot New Year's Eve ball scene is a particular highlight. Every scene is meticulously mounted, lit and shot to maximum effect. 

Equally great is newcomer Vicky Krieps, who injects Alma with intelligence, grit and a hidden dark side 

Then there's the Jonny Greenwood soundtrack. It's just pure brilliance. Having seen the quiet master on stage as part of Radiohead, subtly manipulating background sounds and distortion, he's easily one of the most exciting composers working today. His continued collaboration with Anderson has produced some of the most challenging film scores of recent years; but I would argue that Phantom Thread has the best of the lot. Armed with a 60 piece orchestra, Greenwood produces eloquent and intricate compositions that play over most of the film, heightening the dream-like haze of the film. The score is just as lavish as the setting of the film. Seeing one of the most engrossing recent collaborations between director and composer blossom is a rare treat and Phantom Thread secures this relationship up there with Spielberg/Williams and Hitchcock/Herrmann. 

Despite having the trappings of a traditional British costume drama, Phantom Thread is much weirder, astute and grandiose than expected. With a spectacular (supposed final) performance from Daniel Day-Lewis and pheonomal filmmaking technique, Phantom Thread is essential cinema. Every element coalesces together so brilliantly. I haven't gasped this much in a film in a long time. Welcome back Mr. Anderson - I've missed you. 

Eliminating Hard 8 and Magnolia, which I haven't seen, here's my top Paul Thomas Anderson films

There Will Be Blood>The Master>Phantom Thread>Boogie Nights>Punch Drunk Love>Inherent Vice