Paul Thomas Anderson's newest film reunites him with There Will Be Blood star Daniel Day-Lewis, but the bulk of its promotion has had something or other to do with Day-Lewis' announcement that it would be his final film. Le sigh. Fitting, then, that they'd go out with a bang and healthy dose of Anderson's patented tortured-genius narrative style.
Day-Lewis is Reynolds Woodcock, a highly sought-after and eccentric dress designer in London circa 1950-something. The dresses are gorgeous, his ego less so, and his relationships with his sister (Lesley Manville) and model-muses both are strained, if not downright abusive and fleeting. Strange, then, that he'd fall so quickly and deeply for young Alma (Vicky Krieps). The pair becomes inseparable, though neither is truly who the other believes; the work suffers, the relationship falters, the price of genius is laid bare.
Day-Lewis, as always, disappears completely into the role, bringing equal parts intensity and narcissistic charm to the talented yet childish Reynolds. The man always gets his way, even as those around him take great, pained strides to accommodate his nonsense. Alma becomes his match, though, proving there are nearly no depths to which she won't sink to render him helpless in her care. Krieps shines in her more vulnerable moments, transitioning from starry-eyed country girl to sneakily cutthroat hanger-on. Is she in awe of Reynolds' work and ethics, or does she simply gravitate toward him because it seems he could live without her? Even she can't decide, perhaps, but even in her darker moments we understand—or at least try to—how she could hurt so bad and act so recklessly.
Anderson, of course, wrote and directed the film, and music from Radiohead's Jonny Greenwood (who also scored There Will Be Blood) is so subtle yet so essential that it drives us in a way few other scores really can without us ever noticing, moving seamlessly from minimalist, noise-adjacent moments of tension to light and airy jazz-like tunes during brief happy respites.
Day-Lewis has remained adamant that he doesn't wish to discuss his retirement with the world at large, and that's fine—but it really is a shame he's chosen to call it quits. Reynolds may not prove to be his most-remembered role, though it certainly does allow him to go out strong. Phantom Thread is jarring and challenging, but unlike almost anything else out there. Surely that's worth your attention.
9
+Daniel Day-Lewis always slays
-Perhaps not widely accessible
Phantom Thread
Directed by Anderson
With Lewis, Krieps and Manville
Violet Crown, R, 130 min.
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