Phantom Thread

Life with an artist, so potentially challenging.  Working for and with is such a chore.  Imagine attempting to love one of them.  To share a life resembling normalcy.  It takes a strength and perhaps masochism that many are unwilling to bear.  Fashion designer Reynolds Woodcock is unquestionably brilliant, a genius who outfits the upper crust of 1950s London.  His dresses are coveted by women of all ages, worn at different stages of life: cotillions, coming out parties, weddings.  Woodcock is a charmer to his clients, far less so to his staff and (as time goes on) his lovers.

During the early scenes of 2017's PHANTOM THREAD, Reynolds (Daniel Day-Lewis) sits at breakfast with his sister/business partner Cyril (Lesley Manville) and his current flame, who dares to engage him in a discussion about the state of their relationship.  He dismisses her talk as occurring too early in the day to be so confrontational.  Reynolds has a routine and it cannot be upset.  The woman will subsequently be asked to leave the mansion in which the Woodcocks conduct their business, but will be replaced by a sweet waitress named Alma (Vicky Krieps).  It is during Reynolds' needed escape to the country that he will serenade the young lady as he orders an extravagant breakfast.

Alma learns quickly of Woodcock's fastidiousness.  He creates a dress for her on their first date, after he explains his controlled life as a confirmed bachelor, his inability to ever marry.  His work is his life.  His only hobbies seem to be the appreciation of fine cuisine and a nightly walk around his estate.  Alma assumes her role as his beloved, though there aren't many scenes suggesting that they are little more than roommates.

Woodcock hates surprises.  Alma convinces herself that he only needs to learn how to appreciate deviance from his rigid, carefully planned days. She loves him, but his autistic behavior and extreme devotion to his craft may not allow the sort of reciprocity she seeks.  But she will discover a solution one day while reading a cookbook.  One which will allow a certain molding, one that may be followed willingly or otherwise. One that will be necessary for this relationship with the artist to endure.   The amazing final minutes of the film will put as fine a point on it as may well be humanly possible in a motion picture.

Paul Thomas Anderson has fashioned his own bit of breathtaking genius with his eighth film as writer and director.  What an aesthetic he creates! Somewhat difficult to put into words (again).   It is such a pleasure to watch his craft, with perfectly measured camera movement and entirely assured direction.  He uses wide and close up shots with equal deftness to convey each emotion, and frequent collaborator Jonny Greenwood knows exactly how to score each scene; his soundtrack is absolute perfection.  PTA has created a film that would sit comfortably with classic Hollywood.  PHANTOM THREAD is clearly inspired by certain Bette Davis vehicles, Emily Bronte novels,  and Alfred Hitchcock's REBECCA.  Speaking of which, many have interpreted Reynolds' and Alma's relationship to be based on that of the famous director and his wife.  Is this character's first name a mere coincidence?

Enjoyed the brief hat tip to Kubrick's CLOCKWORK ORANGE.  Ah, never fear, this was no evocation of that film's grim satire, but rather a recreation of the composition of a specific scene.  You'll recognize it.

The actors? Nothing short of incredible.  DD Lewis announced that this would be his final role.  That is disappointing and remains to be seen, but exiting on such a high note should be any actor's desire.  He uses his own accent and emodies a man/child character with astonishing ease. Aside from all the fabulous garments he designs, I envied his wardrobe!  The women are also remarkable - Manville's icy tower of control and Krieps' dynamic, gradually revealing personality are well deserving of their Oscar nominations.

I had a nice moment at the very end of PHANTOM THREAD.  The very last credit was the film's dedication to Jonathan Demme, who was a huge influence on Anderson.  Then the lights came up.  A truly organic moment, recapturing in many ways the magic of going to the movies.  See this film in a theater if you please.