LAST SCREEN PERFORMANCE OF DANIEL-DAY LEWIS?
Without the popcorn, sitting in a movie house watching an Art Film can be almost a religious experience. This observation emanates directly from the confessional as I reflect on an afternoon with Daniel Day-Lewis at PHANTOM THREAD, supposedly his swan song for screen acting. Listening to the piano concertos or the grand strings of the Royal Philharmonic Orchestra, both underscoring the film, give this observation resonance as does the religiosity observed by the central character in pursuit of perfection at the House of Woodcock. This celluloid creation could just as easily have been chronicling a priest raising the Eucharist in a cathedral.
That reverence envelops the entire film PHANTOM THREAD, a critic’s favorite. It manifests in the lush musical underscoring. It manifests in the lucid colors and delicate camera angles of some glorious Cinematography. It manifests in Mark Bridges’ couture Costume Design for the 1950’s Eisenhower Era across the pond. It manifests in the elegance of Veronique Melery‘s Set Decoration. And It manifests in the extraordinarily detailed performances of notoriously fixated Daniel Day-Lewis and relatively unknown Vicky Krieps along with, secondarily, the taciturn Lesley Manville.
All of this wonderfulness owes its existence to the brilliance of Paul Thomas Anderson who is at the helm of this 35 million dollar movie as Director, but also its Screenplay Writer and Cinematographer. Might he also be one of its Executive Producers for all intents and purposes (although uncredited)?
The plot centers on the genius of Reynolds Woodcock (Daniel Day-Lewis) at the head of THE fashion institution in London. His creations adorn the most high profile ladies in Europe including those anointed as famous,socialites and even royalty. His reputation precedes him wherever he travels. The peculiarities of his personality endure, often revealing destructive, fragile insecurities generally soothed and held in check by his devoted sister Cyril ( Lesley Manville). Then he meets Alma (Vicky Krieps), innocent and unsophisticated, slowly discovering his muse as he sails into the tumultuous waters of the tunnel of love.
Since the movie dabbles in character study more than anything else, a few other observations here. Reynolds, at times, behaves as if he oversees the sniveling masses from atop Mt. Olympus. On other occasions one can imagine him ensconced in a dark corner of his mansion with thumb shoved in his mouth crying a waterfall. He is irascible, infantile, powerful, and abusive. Imagine someone with an inordinate number of idiosyncrasies who remains helpless to control them. This is the Reynolds Woodcock lording over the fashion industry with Cyril always nearby to rescue him.
Until she is shoved aside from that dominant role. There is a new girl in town, willing to be subservient to his whims. Alma begins the film in the throes of intimidation and a seemingly unhealthy attraction to an unstable maniac at times. Breakfast time simmers with a rumbling explosiveness, ready to blast her out of the front door at any moment. But eventually she learns…and her devotion ultimately knows no bounds. Mushrooms play a role here (just a tease!).
In a key moment in the film her piety comes full circle as she seems to have an epiphany about her man’s needs. Cyril’s stand-in assumes his mantle and recovers the “vestments” from an unworthy custodian of a House of Woodcock creation. She has captured his heart as he looks on with admiration. One can almost hear the pipe organ in crescendo during this scene.
Is this film viewing experience for you? It could be, I suppose. Dark love may be somewhat titillating for a portion of moviegoers. PHANTOM THREAD, though, is an Art Film masquerading as a big budget feature. For me, I found myself squirming in my seat after I had abandoned my ardor for character analysis. Apparently I had become bored kneeling at the altar of Daniel Day-Lewis.
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