Writer-director Paul Thomas Anderson and Daniel Day-Lewis reunite after There Will Be Blood for period drama Phantom Thread.
In 1950s London, Reynolds Woodcock is a dressmaker extraordinaire, clothing countesses and foreign royalty in elegant gowns. When he meets Alma, a waitress at a local hotel, he falls for her, with Alma becoming his inspiration and eventually his lover. However, he finds that his routine is disrupted by the presence of this young woman in his house. He tries to mould Alma into his ideal, but Alma is not the pliant and compliant little mouse he thinks she is. An interesting power struggle ensues, where it's not entirely certain who has the upper hand...
Reynolds could quite easily have been a caricature, a fastidious little fusspot, but in the hands of a master like Daniel Day-Lewis, he becomes a much more complex character. Whilst his obsession with Alma and his desire to make her what he wants to be is occasionally uncomfortable, thankfully it never gets into Christian Grey territory (also because there's an equal amount of power play happening between the two characters; it's not all one-sided). There's a lot of humour to Day-Lewis' performance, and seeing this very exacting men gettiing rattled by the changes in his routine is amusing. If this is Day-Lewis' final film (as he has said it is), it's a strong performance to go out on.
Vicky Krieps (Hanna, A Most Wanted Man) is a revelation as Alma. Originally a clumsy, gauche young woman, she soon grows into a much more rounded figure; it's Alma who (in one of the film's funniest scenes) demands the return of a dress from a client who has disgraced herself. Similarly towards the end of the film, it's Alma's scheme that takes central stage. There's also a powerful argument between Reynolds and Alma, after Alma has made him a surprise dinner, in which she shows that she's not that quiet little girl any more. Even when the film takes a strange turn at the end, her performance remains magnetic.
I'll be honest, I was surprised to see Lesley Manville's name included in the Best Supporting Actress Oscar nominees; her inclusion at the BAFTAs wasn't so much of a surprise as she is a British actress and BAFTA do tend to favour home talent. Having now seen the film, I can confirm that my surprise was completely unfounded. She is superb as Reynolds' sister, business partner, and confidante Cyril. Ready with a waspish comment and fiercely protective of Reynolds, Cyril almost acts as his handler, ensuring that he can work undisturbed. There's also an intriguing ambiguity over Cyril's feelings towards Alma; after an uncomfortable first encounter, the relationship mellows somewhat to Cyril admitting she's 'fond' of her. Is there more to it than that? It's never explicitly stated which adds an interesting view to the character.
As you can imagine in a film about dressmaking and fashion, the costume design of the film is absolutely ravishing, for which designer Mark Bridges is to be commended. There's also some interesting sound design going on, where simple acts such as pouring a glass or water or buttering toast takes on an almost excruciating meaning.
My main issue with the film comes in the last five minutes, and yet again, it's another example of the ending undermining all the good work done before it. Reynolds' actions towards the end of the film just don't ring right with the character that's been set up before; I understand that characters change (and should) but it feels like a step too far. I may have misjudged or misread the ending, but to me, it just didn't work. A shame, because up to that point, I'd found myself quite enchanted by the film.
Phantom Thread is worth seeing for its sublime costumes and a trio of superlative performances, but perhaps don't pull at the threads too much lest the whole thing fall apart.
Rating: 3.5 out of 5
Tez
