Phantom Thread

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(out of 5)


A high-end couturier () runs his London fashion house with a crack sewing team and his hard-edged sister () as business manager, their indulgence of his rigid habits and routines freeing him to obsess over the creations that take people’s breath away at aristocratic functions.  He seems to have a habit of keeping a female companion who doubles as primary model, and not long after getting rid of his last conquest ( in one short, powerful scene) he meets a beautiful waitress () with whom he becomes immediately enchanted and, eventually, involved in a fascinating battle of wills.  She happily obliges him in becoming his leading lady and a member of the household, but as time progresses, her presence as someone with a personality as strong has his own confuses the man who usually has no problem evicting a person who makes to much noise buttering her toast: is it a struggle he wants to solve, or does he, like her, actually enjoy being trapped without a solution?  It’s amazing how many mushrooms it takes to answer this question.  Throughout the process of this exquisite, perfectly mapped out film, we see these two characters combat each other in seemingly innocuous ways (asparagus with butter?) that are as devastating as they are surprisingly funny.  It’s a masterful look at love and design that expertly makes its aestheticism a character of its own (it’s the finest costume work of Mark Bridges’ career) without ever losing touch with the explosive human drama at its centre (imagine if Max Ophuls finally had a bad day).  Day-Lewis is wondrous as a man who expresses his ferocious appetite for indulgence while hardly ever raising his voice above a hush, while Krieps does Falconetti-worthy acting in frequent close-ups and, despite not being very familiar with the film’s English-speaking audience, effortlessly holds her own with one of the most famous scene-chewers in recent film history.  The film would be incomplete, though, without the dangerous sparkle that Manville contributes in support, impressive and practical but never cruel, her intentions always a surprise and her delivery always a blow; with a stare that could cut glass and a voice that falls like a guillotine, she anchors the romance in her practical business suits and tight hairdos and leaves a remarkable impression.  None of the characters are to be taken for granted, for that matter, the employees who do the sewing all come across as rich individuals, an elegant (as always)  contributes to the film’s tangible beauty, and, best of all,  is unforgettable as an extreme cross between Doris Duke and Princess Margaret whose instability provides a sharp but not condescending examination of the film’s social world.


 , , Ghoulardi Film Company,

USA, 2017

Directed by Paul Thomas Anderson

Screenplay by Paul Thomas Anderson

Cinematography by Paul Thomas Anderson

Produced by Paul Thomas Anderson, , ,

Music by

Production Design by

Costume Design by

Film Editing by


Cast Tags:  , , , , , , , , , , , , ,, , , , , ,, , , , , , , , , , , , , , , , , , , , ,, , , , , , ,


Golden Globe Award Nominations
Best Actor in a Motion Picture-Drama (Daniel Day-Lewis)
Best Original Score

British Academy Award Nominations
Best Leading Actor (Daniel Day-Lewis)
Best Supporting Actress (Lesley Manville)
Best Costume Design
Best Original Music

Boston Film Critics Awards
Best Film
Best Director (Paul Thomas Anderson)
Best Original Score

Nomination
Best Actress (Vicky Krieps)

Chicago Film Critics Award
Best Original Score

Nominations
Best Actor (Daniel Day-Lewis)
Best Actress (Vicky Krieps)
Best Supporting Actress (Lesley Manville)
Best Original Screenplay
Best Art Direction/Production Design

Los Angeles Film Critics Award
Best Music

National Board of Review Awards
Top Ten Films
Best Original Screenplay

New York Film Critics Award
Best Screenplay


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