Movie Review: Phantom Thread

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Phantom Thread ***** / *****

Directed by: Paul Thomas Anderson.

Written by: Paul Thomas Anderson.

Starring: Daniel Day-Lewis (Reynolds Woodcock), Vicky Krieps (Alma), Lesley Manville (Cyril), Richard Graham (George Riley), Camilla Rutherford (Johanna), Harriet Sansom Harris (Barbara Rose), Brian Gleeson (Dr. Robert Hardy), Julia Davis (Lady Baltimore), Nicholas Mander (Lord Baltimore), Lujza Richter (Princess Mona Braganza), Gina McKee (Countess Henrietta Harding), Philip Franks (Peter Martin), Phyllis MacMahon (Tippy), Silas Carson (Rubio Gurrerro), Martin Dew (John Evans), Jane Perry (Mrs. Vaughan).

 

One of the reasons why Paul Thomas Anderson has been the most exciting filmmaker of his generation is because he seems to be constantly reinventing himself, and his films. His latest film, Phantom Thread, is unlike anything he has done before – it’s kind of a perverse take on the Merchant Ivory prestige film that dominated art houses in the 1980s and 1990s – except one directed by an unholy alliance of Stanley Kubrick, Alfred Hitchcock and Max Ophuls. It’s the type of film that keeps you on edge, not because it’s a thriller, but because you can never be quite sure what will happen next. The film snaps into focus in the closing moments – but not because there is a twist ending per se – but rather because of something deeper – you understand the central relationship more than you did before - but not completely.

 

The film opens on Alma (Vicky Krieps), who face is bathed in firelight, as she talks about Reynolds – and him making her dreams come true. The film then flashes to Reynolds sometime in the recent past – over breakfast with his sister Cyril (Lesley Manville) – and whoever his current girlfriend is, who it is clear will not be in that position for very long. We then witness the first meeting between Reynolds and Alma – she a waitress in a café near Reynolds’ country home – and him a customer, who gives an absurdly large order, as a means of seduction. They then go to dinner that night – and he brings her home, and continues the seduction – this time, by measuring her for a dress. Reynolds Woodcock is, after all, one of the most famous fashion designers in the world. Cyril comes home, and sees what is going on – and in her way, puts (or tries to anyway) Alma in her place. “You’re perfect” she observes to Alma – “He

likes a little belly”.

 

The performances by the three leads are impeccable – as almost all performances are in Anderson’s films. If this really is to be Day-Lewis’ swan song, he has picked a great film to go out on. His Reynolds Woodcock is the first time in years he has played a British character in years (decades, really) – and he slides into the role effortlessly. He is an exacting artist, and someone who needs everything to be perfect, or else it’s useless. He has his routines – and you better not mess with them. In many ways, he is the toxic male artist we’ve heard so much about this year – then again, that’s just the surface level. On the surface level again, Lesley Manville is a delight, essentially playing a Mrs. Danvers like role – quietly looking on from the sidelines, with constant disapproval and judgment. One of the comedic highlights of the film is to always find her in the background – and what she looks like. And yet, that too, doesn’t do full justice to Manville’s Cyril, who isn’t just there, nervous about being replaced. When she tells Reynolds, when his relationship with Alma is in danger of waning, that she likes Alma – she really means it. Relative newcomer Krieps has, in many ways, the hardest role of the trio – as Alma is the most enigmatic character. She has an accent, but no one identities where it’s from (Germany, I guess, but a comment about Jews and visas makes you wonder what her backstory is even more). For much of the film, you wonder about Alma – and her motivations. Is it simply that Reynolds is rich, and she was just a waitress before? Is that why she stays, even as his cruelty towards her increases? There is a turning point, involving mushrooms, where you think everything starts to make more sense – but it’s really the second incident with those mushrooms that does that.

 

The film is impeccably made, as you expect from Anderson. He acted as his own cinematographer this time, and does something rather remarkable with the look of the film – that really does recall the feel of those old Merchant Ivory films. The camera moves more fluidly though than those films at times recalling the tracking shots that made Max Ophuls famous, and at times slowing things down more, like Kubrick. He is aided greatly by the score by Jonny Greenwood – once again doing phenomenal work for Anderson (as he has done for his last four films. There is barely a scene without music underneath (an Anderson trademark) – and it works greatly to help.

 

I find I don’t want to say more about Phantom Thread – if for no other reason than I went in fresh, and was glad for it. The film twists itself several times, but it never feels like a cheat. The ending is the most important part – as it has been in many of Anderson’s films, putting what came before in a different light. On the surface, the film doesn’t seem quite as challenging as The Master or Inherent Vice – and yet, by the end, you realize it’s perhaps even more so – even more enigmatic, in a way that is thrilling, not frustrating. This is the best film of 2017.

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