PHANTOM THREAD: Paul Tomas Anderson, Daniel Day-Lewis, Fifties London

Southern California

Looks insanely boring & I fear he shot without a complete script again

why do you all say "boring" like it's a bad thing?

i only hold films in high esteem if i nod off during them

There Will Be Blood has aged pretty poorly (mostly because the last 10 minutes have been parodied and referenced so much - a shame because the ending was so powerful when I first saw it), but The Master has aged really well... I saw that one by myself opening night & then the next day with a bunch of friends and we were all left scratching our heads... haven't seen it since, but it's bloomed in my mind in a way that TWBB hasn't, quite the opposite... maybe the difference between DDL & PSH...

why do you all say "boring" like it's a bad thing?

the cardinal sin in movies is being boring, i don't understand the question

yeah i watched Louis XIV die in bed for 2 hours last night

xp

flappy, have you dodged the entire Slow Cinema trend?

what are some examples

First person that came to mind when I read "slow cinema" was Kelly Reichardt, who's one of my favorite working directors. Certain Women is slow but it's anything but boring.

yeah slow =/= boring. "PTA fashion movie" is my idea of hell if that's really what this is

you can def nap to the work of apichatpong weerasethakul, one of my favorite directors

Guessing it was made with self-awareness of The Age of Innocence and Gosford Park as context, wild energetic American filmmakers telling a story in a restrained and refined world.

wild energetic

this is not a fitting descriptor for PTA imo.

I mean, anxiety is also a form of energy I guess

I keep hearing that the Paul Thomas Anderson/Daniel Day-Lewis movie is sort of an art-house FIFTY SHADES OF GREY...

— Kyle Buchanan (@kylebuchanan) August 7, 2017

This tweet (coupled with some hints in the trailer) suggest that this movie is not primarily about fashion

Oh hell yeah

Unfortunately, 'art house 50 Shades of Grey' sounds like a movie full of the scenes where he's asking her why isn't she eating and then making her eat.

That does look decidedly boring

He should play WB Yeats soon

don't you remember he retired? (lol)

unless he has some sort of second coming...

There's totally going to be a scene where he sews a dildo into one of those secret pockets

The strange thing is that in real life Daniel Day-Lewis is actually a cobbler and his specialty is embedding dildoes in the soles of his shoes. It's kind of ridiculous when you think about it, this presumption that knowing one thing could actually translate into a meaningful ability to represent the other thing. Hardly method acting, if you ask me.

daniel dild-shoeis morelike amirite

I regret this.

daniel dild-shoeis morelike amirite

hahahaha

This looks great, not boring at all. The photography looks absolutely beautiful. Very excited to see it.

This looks great.

Is that Julia Davis playing the "rival" at the dinner table 1:15 in? She's not on the cast list.

I won't watch the trailer (I don't really watch them) but PTA, whom I don't like much, made Inherent Vice and The Master back to back, both of which tickled me.

i'd like to know what you think of the aesthetic fwiw, and it doesn't give much away. in fact it does the opposite. such a shock to see PTA shoot grey skies, rainy cobbled streets and wild green coastlines.

DDL looks magnificent. 60 years of age!

I can't stop watching this trailer. I hope that this will be one of my favourite films of all time. I know it's stupid to hope that.

The film's aesthetic (if the trailer is to be trusted) is gorgeous--glorious clothes on beautiful people and magnificently preserved old houses. But I fear this will be another Gosford Park, in which a banal story is played out in a plutographic setting. I enjoy such movies while I'm watching them, but afterwards I feel like I've eaten too much candy.

(FWIW (do not read if you hate me) I prefer the 1934 Age of Innocence to the 1993 version, because the latter version seems to me to be bogged down in period detail.)

well, let's see if it can even brush the hem of A Quiet Passion's dress.

if this is DDL's last film, he's going out with the usual raves

http://www.metacritic.com/movie/phantom-thread/critic-reviews

The Daily roundup

https://www.criterion.com/current/posts/5175-the-daily-paul-thomas-anderson-s-phantom-thread

Every PTA gets the "the only one still making bona fide American masterpieces" reception, but this one's winning over some of the skeptics.

The only two films I hold in especially high esteem are Magnolia and Inherent Vice. So I'm not holding my breath.

The Master and IV for me, with Hard Eight close behind.

I missed the screening last Thursday and won't open for another month. The studio's holding on to it like a precious bauble.

Last 3 are his best for me (cept the ending of Blood)

Not even remotely screening in my area before the new year.

Happened to watch Boogie Nights on a whim last night. Is it possible for a film to be “great” while also showing its seams (pardon the apropos metaphor) so clearly? It’s maybe the pinnacle of the jukebox movie. (I see its daddy Goodfellas as more than that.) I can’t tell if it is so vivid an experience for me because I saw it over and over at an impressionable age (and I’d never seen a movie with such tonal and stylistic flourishes before) or because it really stands up. But as a “hey look at me, look what I can do!” kind of statement it’s really something. I’m not sure his leap into maturity has worn as well. I admire his later movies but few of them really have a hold on me like Boogie Nights does, despite being pretty clear sighted about its flaws.

That said, the Master and Inherent Vice improve on subsequent viewings. Magnolia is almost unbearable to me now.

Most great anythings show their seams!

Boogie Nights and Magnolia never struck me as anything more than wildly uneven, blatantly derivative provocations upon original release, and I haven't cared to revisit them.

That is true! And yet.

Advance P Brad 5 Star review to be taken under the usual advisement:

https://www.theguardian.com/film/2017/dec/07/phantom-thread-review-daniel-day-lewis-paul-thomas-anderson

I won't say yet what I think one of the major themes of this film turns out to be. The elders in the Upper West Side audience were a bit baffled.

Anyway, stands with Inherent Vice as Anderson's best. Variously put me in mind of The Archers, Welles, Hitchcock, Eyes Wide Shut.

(also if you go to a 70mm screening, at least in NYC, you get a glossy program book)

btw it's not boring

DDL v involved with the scripting

http://ew.com/movies/2017/11/02/phantom-thread-paul-thomas-anderson-interview/

there are definite roots in Rebecca and Suspicion, but then detours you can't anticipate.

this was great. had no idea jonny greenwood did the soundtrack, which was just fantastic.

something unresolved or not quite tucked in

I think he senses it too, which is why his endings can seem like he's wrenching to put all his meanings in order.

he removed an entire story thread from magnolia, he’s def got the impulse

i don’t agree with the sentiment about his endings tho. did the ending of the master give you the feeling he was trying to put all his meanings in order? far from it imo

https://media.giphy.com/media/26DN5ayYLdN6bK62I/giphy.gif

Yes, I think The Master is his most successful film with, no coincidence, his most successful ending.

haha fair! but i love the way inherent vice and phantom thread end too, and neither of them feel like a late massing of the film's themes

I'm shocked a picture as dialectically subtle sprung from the mind of an American writer-director.

John Simon is cheering that post; I am not.

what -- mine?

Simon wouldn't write a thing without a passing gibe at a person's looks, using strained alliteration, or lamenting how even good American movies fall short of a European tradition he's got lodged in his head, which means he's like me.

as an aside my ranking upthread is not correct but i had only seen the master once at the time

Yes; subtlety in American films is hardly rare (maybe dialectically subtle is a distinction I'm missing). Funny you say "from the mind of," though, because Phantom Thread to me very much belongs to the From the Mind Of genre, where you get some portentous voice announcing "From the mind of _________" (Paul Thomas Anderson, Wes Anderson, etc.--David Lynch and Stanley Kubrick in a previous lifetime) in the trailer.

I mean, it's also a movie about closeups of Welsh rarebit, martinis with a twist, and mushrooms in butter.

now that I think about it Boogie Nights ended with something not quite tucked in

Inherent Vice works because it's somewhat built in that putting everything neatly away by the time it ends was not ever really on the table

rewatched this before christmas, best film hollywood has produced since john ford died

(xxpost) I started to defend Boogie Nights' ending...then I got the joke--nice!

xp hey now devvv, I'm with KJB that A.I. is that movie

rewatched this before christmas, best film hollywood has produced since john ford died

No American film in the last few years makes me more uncomfortable. Letting someone "in your life" is a risk: you look like a manipulative Hitchcock-esque svengali like Woodcock, and that's the benefit of telling the story through Alma's POV; but I'm also annoyed that she won't respect his boundaries, especially since she lives in his house. Scraping the toast, throwing a surprise party for him -- it's clear he's on the spectrum when we see his reactions to them, and I cheer her hilarious, sadistic, cheerfully willful attempts to break him...but why shouldn't he expect (at his age!) to go on drinking his tea at a certain hour and not be disturbed? He's so hateful, and she's so right, and yet.

That scene in the rural inn where he patiently, meticulously, smilingly requests a traditional breakfast, and PTA cuts to Krieps' hungry expression (she's thinking, "OMIGOD he gets it!") is just perfect.

i don't have a fully formed thought on it, but thinking through the relationship dynamics in this and licorice pizza is really interesting bc there are some things that are strikingly similar and some things that are very much not

Also: he's the worst gaslighter in movies since Charles Boyer.

I didn't like anybody onscreen, which is fine because I dislike 98 percent of the people I watch or read about. But the film is sharp about the delusions of men who experiment with the feelings of women but expect solitude to work on their art.

― morning wood truancy (Alfred, Lord Sotosyn), Wednesday, January 24, 2018 8:57 PM

still stand by this

Didn’t Morbs say this movie was about “a closet case with a poisoning fetish”? I think about that phrase a lot.

alfred otm

I just love this movie so much

his best movie

incredible

Saw it for the first time on New Year's Day, 10/10 masterpiece