Phantom Thread [DVD] [2017]

EVEN IF THE MOVIE ISN'T WHAT I HOPED FOR THIS ACTOR'S LAST MOVIE TO BE DOESN'T CHANGE THE GREATNESS THAT IS DDL. HE IS A PURE JOY TO WATCH WORK, AND IF HE WAS STANDING IN FRONT OF A WHITE WALL ACTING SOLO, I'D STILL WATCH IN AMAZEMENT. THE MOVIE IS STILL ENTERTAINING,BUT SLOW-PACED AND JUST WEIRD. WHAT ELSE TO EXPECT FROM A PAUL THOMAS ANDERSON FLICK! HAD TO OWN IT!

Excellent movie. There’s no better combination than PTA and DDL. The score in this movie is incredible as well.

Perfection in cinematic form is rarely achieved, even in the greatest of films, but one that comes close is Paul Thomas Anderson’s “Phantom Thread”, the story of a fictional renowned fashion designer in London in the mid-1950s who finds his muse in the body of a clumsy, lower class immigrant girl (who might have been a Jewish refugee). Daniel Day-Lewis plays the obdurate couturier Reynolds Woodcock; Vicky Krieps, the muse Alma; and Lesley Manville, Reynolds’ sister and manager Cyril – the three characters comprise the trio of ‘instruments’ of P.T. Anderson’s cinematic chamber film in which every composition, every camera movement, every character nuance is marked by his superior directorial control. The acting of the three stars is incomparable, each perfectly matched to play off each other – sometimes in harmony, sometimes in extreme dissonance – and this may be the finest performance of Day-Lewis’s career, even considering his “Lincoln’ of 2012. But it is Anderson who controls the film with utter mastery, his camera lovingly focusing on close-ups of colored threads guided through lace and thick fabrics, gliding sensuously over luxurious dresses, traveling through the many ornate rooms of the House of Woodcock. Anderson not only directed, he co-wrote the script over several years with Daniel Day-Lewis, and even served as his own cameraman (uncredited). Actually a precise cinematic allegory of the romantic relationship paradigm, the film often echoes Hitchcock (“Vertigo”, “Rebecca”, even “Psycho”) in its portrayal of an obsessive love that serves as a direct metaphor for the forming of a romantic bond with another, yet it also reaches into the rich baroque luxuriousness of Max Ophüls. How much does one have to give up in a relationship? How does one balance a personal creative calling with another’s needs? Do we always “hurt the one we love?” Clichés are both encompassed and transcended in “Phantom Thread”, one of the most intimate, insightful and stylish films of recent years. P.T. Anderson himself operates uncompromisingly here, using every filmmaking technique on a creatively heightened level, and in the service of his own personal art. Even Jonny Greenwood’s opulent score with its twisting piano chords and rapidly-moving strings conveying hallucinatory neuroticism with ghostly melancholy occasionally runs simpatico with the characters, but sometimes intriguingly counter to the image, conveying relationship disharmony, becoming an emotional synthesis for the moment. In future years there is no doubt this film’s reputation will tower. This is the film Anderson has been working towards his whole career, and, so far, his masterpiece.

Reynolds is the perfect role for Day-Lewis, who is likewise famous both for his obsessive meticulousness. Anderson's movies are never coherent enough to appeal to the mainstream, but this one is so ravishing and meticulous and exquisite that you have no difficulty ignoring its inherent lack of logic. It's a rare combination of audacity and precision, impeccably tailored yet full of mystery and magic, like an essential part of it is beyond Anderson's control. Just defining what the film is presents an formidable set of obstacles. If there's anything I've learned from Anderson's previous work it's that taking full measure of "Phantom Thread" may require more than one viewing.

Phantom Thread isn't a flashy or fast paced spectacle, but a rare, well-made and very welcome character study in this day and age of billion dollar Marvel franchises. After There Will Be Blood, I didn't think PT and Daniel Day could capture lightning in a bottle again, but I was certainly wrong. It's not everyone's cup of tea, I'm sure. Some may be put off by the near perfect script and subtle, nuanced performances. Just accept the lack of car chases or the fact that no one will save the world and check out, what I consider, the year's best picture.

Daniel Day-Lewis plays Reynolds Woodcock, a temperamental women's dress designer, apparently tiring of his current muse and awaiting his next inspiration. The only controlling influence over his basest instincts is his sister, Cyril (Leslie Manville), who runs their atelier with almost militaristic precision. Alma (Vicky Krieps), a waitress, is bemused by Woodcock in his most charming guise. As their relationship evolves, friction develops as she recognizes that this man whom she loves is also a bully and verbal abuser. It becomes a test of wills between the two. Who will win out?

PTA does it again with a beautiful movie that features an equally beautiful soundtrack. In an age filled with sequels, prequels, reboots, forced diversity, SJW tokenism and cinematic universes, PTA dared to do something that hasn't been done very much in a while. He directed an original film that he wrote himself. Next time you think you may go see a superhero film or big blockbuster, do yourself a favor. Watch something creative that someone wrote themselves and support art or it will fade away.

This was not at all what I was expecting; I'm a PTA fan and went in a little blind but was pleasantly surprised. Paul shot the film gorgeously and the performances are top notch - the bu ray transfer is beautiful as well. The audio is top notch and score is fantastic. I wish the supplements offered a little more but the package looks and sounds great, fitting for a great film.