Phantom Thread (2017)

Directed by: Paul Thomas Anderson | 130 minutes | drama, romance | Actors: Vicky Krieps, Daniel Day-Lewis, Lesley Manville, Sue Clark, Joan Brown, Harriet Leitch, Dinah Nicholson, Julie Duck, Maryanne Frost, Elli Banks, Amy Cunningham, Amber Brabant, Geneva Corlett, Juliet Glaves, Camilla Rutherford, Gina McKee, Philip Franks, Tony Hansford, Steven F Thompson, George Glasgow

American filmmaker Paul Thomas Anderson’s films often revolve around unwavering men who give their all to achieve their ambitions. ‘There Will Be Blood’ (2007), for example, tells the story of an oil tycoon played by Daniel Day-Lewis who wants to increase his wealth at all costs, even if he goes on the backs of the poor villagers who have to make their home for the oil drilling. leave. If even the church rebels against him, he chooses to put his feet even more firmly in the ground. In ‘The Master’ (2012), a war veteran falls under the spell of a cult leader, for whom his truth is the only one. Although the veteran, played by Philip Seymour Hoffman, faithfully follows the cult leader, he too cannot escape his steadfast and destructive nature. The malleable human being in Anderson’s work is no more than a myth.

‘Phantom Thread’ also has an apparently unwavering main character, once again played by Daniel Day-Lewis. Day-Lewis, in what he says is his last film as an actor, plays Reynolds Woodcock, a leading couturier in 1950s England. The man is married to his job. He only sees women as mannequins. So is Alma (Vicky Krieps), a waitress with the body for the perfect dress. Woodcock hires the girl. Their relationship, sometimes amorous, more often business, seems to extend no further than to the point where Woodcock has had enough of his temporary muse. Because for the demanding man, work always comes first.

The analogy with Day-Lewis himself is quickly made there. The role of Woodcock fits the actor, known for his thorough preparations and emotional playing, like a glove. The strict, but sometimes charismatic look. The understated subtleties around the eyes and mouth. Alternately enigmatic and outspoken. Strict and loving at the same time, which makes you as a viewer hate him, but also secretly love him a bit. It’s a masterclass in acting.

But then, somewhere halfway through ‘Phantom Thread’, something interesting happens. When Woodcock is about to ditch Alma, the magic has worn off for him, the girl reacts differently from the women who came before her. She fights back. From a passive girl she has turned into a rebellious woman. And just like the caterpillar that turns into a graceful butterfly, her perspective also becomes a lot more attractive. Where before she did everything she could to please her beloved, she is slowly taking her place in the spotlight. The roles have been reversed. And it turns out that Woodcock isn’t all that unwavering.

It gives ‘Phantom Thread’ an extra dimension. Precisely because their characters are so changeable, as a spectator you go along with their enthusiasm. Characters are not black or white, but are located in a colorful in-between world. They become human. The fairytale piano music (by film composer and Radiohead guitarist Jonny Greenwood), the authentic colors and the classic camera work complete these character sketches masterfully.