Today I saw Phantom Thread, starring Daniel Day-Lewis and Vicky Krieps.
Your enjoyment of this film will depend primarily on the lens in which you choose to view the main character, Reynolds (Day-Lewis), a celebrated dressmaker in 1950s London.
One path leads you to a creative genius who is the opposite of eccentric, favoring everything in very specific (perhaps obsessive compulsive) ways. His emotional palette must be clear to begin his morning work; his space must be free from distractions—and if all demands are met, peace remains and politeness ensues.
Another view of Reynolds shows you a narcissistic, paranoid control freak who must maintain a specific decorum to command the respect he feels he's due. Abusive, hypersensitive and passive aggressive, he's attracted to women only for what he can use them for, whether that be modeling, sewing, cooking, serving or sex.
You choose.
Alma (Krieps) is taken by his charm and gets quickly caught up in the glamour of his craft. She's young, but she's also a lot smarter than he (and his imposing live-in sister) gives her credit for. Though appreciative of his talents she can't be bothered with his rules (like not buttering her bread so loudly) and soon devises a most clever way of making him appreciate her. I felt like cheering when she first put her plan into place.
Like all Paul Thomas Anderson films, the score is itself a character, but here I appreciated it more than felt it a nuisance. The pomp and circumstance associated with high fashion in some way warrants it, or even invites it.
Of course the main reason to see the film, unless you're a sucker for claustrophobic tension, is Day-Lewis, who claims this is his last big screen performance. I hope to God he's bluffing, but if he isn't, it's safe to say (as usual) he gave it his "all" and offered complexities to the character that I'm confident no other human being on earth could achieve.
But no, on the whole I didn't really like the film.
Maybe it's the present social climate for women that's to blame, but to be held hostage for over two hours by the whims of a high maintenance brat who happens to be good at his job while a clever, attractive woman adjusts every ounce of her life to accommodate or manipulate his just isn't pleasurable.
And the dresses weren't my style.
~~~
Showing posts with label Daniel Day-Lewis. Show all posts
Showing posts with label Daniel Day-Lewis. Show all posts
Sunday, January 14, 2018
Sunday, November 25, 2012
Lincoln
On Friday I saw Lincoln, starring Daniel Day-Lewis and Sally Field.
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
Friday, December 25, 2009
Nine
Today I saw Nine, starring Daniel Day-Lewis and a slew of women.
Director Guido Contini (Day-Lewis) has the weight of the world on his shoulders. He believes this is because he is about to make another film, but really it's because he can't successfully manage his addiction to women.
We meet each of the ladies in his life through a series of musical numbers and brief encounters with him. His mistress (Penelope Cruz) gets the most screen time.
Really, there's not much of a story here and therein lies the problem. A famous, handsome director is approaching a state of nervous breakdown because he has it all and "all" turns out to be too much.
His wife Louisa (Marion Cotillard), aside from being beautiful, does nothing to convince us that he wouldn't get bored being married to her. She's alternately obedient and disobedient, then finally unwilling to look the other way at her husband's transgressions. He probably truly loves her, but then again, he probably truly loves all of them.
A consistent ear for him comes in the form of Lilli (Dame Judi Dench), a wise costume designer that sees not only his aesthetic vision, but also his wandering eye. She provides a motherly like counsel for him while his real mother (Sophia Loren) appears to be paraded out into numbers just so we can marvel at how beautiful she still is.
In the not-sure-why-they're-even-there department we find a Vogue writer named Stephanie (Kate Hudson) who offers possibly the best dance sequence, though shows no evidence beyond physical attraction that she has a connection with Guido. There's also a very random number with the voluptuous Saraghina (Fergie), an apparent beach recluse who enabled the younger Guido to learn about women. She's easily the best singer of the bunch (no surprise there), but her performance feels underutilized because she barely moves from her dancing chair.
Also on screen is the director's muse, Claudia (Nicole Kidman) who serves as nothing more than a reminder that Guido likes beautiful women. Hey, guess what? We already knew that.
His most believable and developed relationship is with his mistress Carla, who truly loves him despite her own marriage. He treats her as men typically treat their mistresses: hiding her away and orchestrating her every move, then forgetting about her once he's had his fill of the sex and adoration only a good mistress can provide. And yes, there are always consequences for all involved.
The shame about this movie is the amount of Oscar® caliber talent that shares the screen, but with the exception of Day-Lewis, doesn't get to prove it. He is amazing in whatever he does and this role is no different—in fact, the most delightful thing about Nine is finally seeing him act as a somewhat traditional leading man. He's sexy, he's well-dressed, he hasn't killed anyone (that we know of) and good God, he even sings!
But it's not enough to make up for this pieced-together series of vignettes that are too weak to amount to a quality musical.
Director Guido Contini (Day-Lewis) has the weight of the world on his shoulders. He believes this is because he is about to make another film, but really it's because he can't successfully manage his addiction to women.
We meet each of the ladies in his life through a series of musical numbers and brief encounters with him. His mistress (Penelope Cruz) gets the most screen time.
Really, there's not much of a story here and therein lies the problem. A famous, handsome director is approaching a state of nervous breakdown because he has it all and "all" turns out to be too much.
His wife Louisa (Marion Cotillard), aside from being beautiful, does nothing to convince us that he wouldn't get bored being married to her. She's alternately obedient and disobedient, then finally unwilling to look the other way at her husband's transgressions. He probably truly loves her, but then again, he probably truly loves all of them.
A consistent ear for him comes in the form of Lilli (Dame Judi Dench), a wise costume designer that sees not only his aesthetic vision, but also his wandering eye. She provides a motherly like counsel for him while his real mother (Sophia Loren) appears to be paraded out into numbers just so we can marvel at how beautiful she still is.
In the not-sure-why-they're-even-there department we find a Vogue writer named Stephanie (Kate Hudson) who offers possibly the best dance sequence, though shows no evidence beyond physical attraction that she has a connection with Guido. There's also a very random number with the voluptuous Saraghina (Fergie), an apparent beach recluse who enabled the younger Guido to learn about women. She's easily the best singer of the bunch (no surprise there), but her performance feels underutilized because she barely moves from her dancing chair.
Also on screen is the director's muse, Claudia (Nicole Kidman) who serves as nothing more than a reminder that Guido likes beautiful women. Hey, guess what? We already knew that.
His most believable and developed relationship is with his mistress Carla, who truly loves him despite her own marriage. He treats her as men typically treat their mistresses: hiding her away and orchestrating her every move, then forgetting about her once he's had his fill of the sex and adoration only a good mistress can provide. And yes, there are always consequences for all involved.
The shame about this movie is the amount of Oscar® caliber talent that shares the screen, but with the exception of Day-Lewis, doesn't get to prove it. He is amazing in whatever he does and this role is no different—in fact, the most delightful thing about Nine is finally seeing him act as a somewhat traditional leading man. He's sexy, he's well-dressed, he hasn't killed anyone (that we know of) and good God, he even sings!
But it's not enough to make up for this pieced-together series of vignettes that are too weak to amount to a quality musical.
Saturday, January 19, 2008
There Will Be Blood
This morning I saw There Will Be Blood, starring Daniel Day-Lewis and Paul Dano.
It is the topic of Cinebanter #46, which is available here.
It is the topic of Cinebanter #46, which is available here.
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