Phantom Thread

Arghus

I searched for a thread about this, I couldn't find it, maybe it is a, eh...Phantom Thread.

Anyway. Looking forward to this. First official trailer out today:

https://www.youtube.com/watch?v=UuXGDFw8qDQ

DDL and PTA. It can't come soon enough.

branie2

Sadly, it's going to be Daniel Day-Lewis' last film

Arghus

Ah yeah, we'll see. It could be. But the right director, the right script...

Hooks Golf Handicap

I used think that PTA could do no wrong but I found parts of The Master just didn't resonate & Inherent Vice was big misstep.

Will be the first time since Age of Innocence where DDL is not doing an accent I think, trailer does look good.

Problem here is this movie, along with all the other Oscar bait, wont be out until Feb 2018 but will undoubtedly be available online during screener season.
This always destroys organic online discussion about these films for me & rather than be spoilered I have no choice but to track it down & watch it.

Agent Coulson

Man I thought this was going to be Daniel Day-Lewis's Superhero movie

brevity

Agent Coulson wrote: »

Man I thought this was going to be Daniel Day-Lewis's Superhero movie

There is only one Phantom

JP Liz V1

Agent Coulson wrote: »

Man I thought this was going to be Daniel Day-Lewis's Superhero movie

I would like to see DDL as Adam Warlock in next GOTG :P

DDL playing a tortured soul fashion designer for PTA, just give him the Oscar

Slydice

Excellent! Now I've the theme of Defenders of the Earth in my head!

Slydice

defenders!

nix

Hooks Golf Handicap wrote: »

I used think that PTA could do no wrong but I found parts of The Master just didn't resonate & Inherent Vice was big misstep.

Completely disagree, i found inherent vice to be brilliant/hilarious, i even went to see it twice in the cinema. Which is very rare for me for the type of movie it was and the length.

And i don't think DDL could ever top Billy Zane's Phantom, srsly

bnt

Hadn't heard of this before I saw this review by veteran TV writer Ken Levine. He's not impressed:

I will say this – the story does get going and take some interesting (albeit weird) turns. Unfortunately this comes about 90 minutes in.

And if there's a theme to this tedious test of an audience's endurance is that breakfast is the most important meal of the day. There are at least seventeen breakfast scenes. And one five-minute scene of Daniel Day Lewis ORDERING breakfast. This is not a joke. This is a warning.

johnny_ultimate

Outstanding.

Anderson’s last two films have had their many pleasures, but they’ve also felt frigid and defiantly obtuse. This is a return to the more immediate yet still tricksy pleasures of his earlier work, in particular Punch Drunk Love. Phantom Thread exists in a state of unlikely but thrilling equilibrium: it’s Anderson’s most accessible and warm film in years, but also boasts a mysterious, elusive magic that always means the film feels idiosyncratic and challenging.

It is a joyous upending of a relationship drama (although there’s lots of comedy here): The roles constantly shift; egotism is on constant display; and the moments of passion are inevitably followed by stretches of mutually-assured destruction. It probingly rattles and upsets the ‘genius and his young lover’ archetypes, and neither main character gets off easy (although it’s also affectionate towards them). God, the acting is superb from all three leads. It’s Anderson’s least showy film to date, but still obviously crafted with extraordinary skill - lighting in particular plays a key role in emphasising tone, character and story from scene to scene. And there’s career best work from Johnny Greenwood with his nearly ever-present piano score, which further supports AND complicates the weird, hypnotic mood Anderson maintains throughout.

My favourite scene was

the proposal one

. The turning point in the story is not captured merely through the characters’ conversation. Instead, in one sublime shot, the camera gradually pushes forward, slowly but surely pushing

the dress, so essential to the story until that point

out of frame. The camera is essentially reframing the characters’ motivations as they themselves decide to go a different direction. That, friends, is cinema in all its ****ing glory.

Also: forever grateful that some cinemas are showing this in 35mm form.

AMKC

I have seen all very positive reviews for this and can not wait to go see it. Hopefully in the next week or two sometime.

pumpkin4life

johnny_ultimate wrote: »

Outstanding.

Anderson’s last two films have had their many pleasures, but they’ve also felt frigid and defiantly obtuse. This is a return to the more immediate yet still tricksy pleasures of his earlier work, in particular Punch Drunk Love. Phantom Thread exists in a state of unlikely but thrilling equilibrium: it’s Anderson’s most accessible and warm film in years, but also boasts a mysterious, elusive magic that always means the film feels idiosyncratic and challenging.

It is a joyous upending of a relationship drama (although there’s lots of comedy here): The roles constantly shift; egotism is on constant display; and the moments of passion are inevitably followed by stretches of mutually-assured destruction. It probingly rattles and upsets the ‘genius and his young lover’ archetypes, and neither main character gets off easy (although it’s also affectionate towards them). God, the acting is superb from all three leads. It’s Anderson’s least showy film to date, but still obviously crafted with extraordinary skill - lighting in particular plays a key role in emphasising tone, character and story from scene to scene. And there’s career best work from Johnny Greenwood with his nearly ever-present piano score, which further supports AND complicates the weird, hypnotic mood Anderson maintains throughout.

My favourite scene was

the proposal one

. The turning point in the story is not captured merely through the characters’ conversation. Instead, in one sublime shot, the camera gradually pushes forward, slowly but surely pushing

the dress, so essential to the story until that point

out of frame. The camera is essentially reframing the characters’ motivations as they themselves decide to go a different direction. That, friends, is cinema in all its ****ing glory.

Also: forever grateful that some cinemas are showing this in 35mm form.

Bollocks. This is one of the all time great movie scenes.

The Master is a classic, one of the greatest films ever made, and Inherent Vice, while probably his worst film, is still pretty damn good too.

Agree with you on the rest though, Phantom Thread is an absolutely outstanding film.

johnny_ultimate

pumpkin4life wrote: »

Bollocks. This is one of the all time great movie scenes.

Let me stress: I think both films are pretty great, The Master in particular. I just also think they’re his least accessible films (I don’t mean that as a criticism) - while there are obviously immediately brilliant moments like the one you reference above, they ask for quite a bit of patience & attention from the audience and can be tonally chilly at times (perhaps chilly or frosty is a better word than frigid) compared to his other films. I don’t mean any of that in a negative sense: I just reckon on the whole they’re his two least accessible and immediate films, although obviously remain masterful pieces of work.

Phantom Thread, basically, is IMO more forthcoming with its pleasures, without foregoing its deeper, trickier side. This doesn’t necessarily make it better than its predecessors (although it TBC might be my personal favourite of his last couple), and I could audibly hear many people discussing how they need to ponder on it for a while as the lights came up. But I felt it also has a certain light-footedness we haven’t necessarily seen so strongly in any of his films since Punch Drunk Love

delbertgrady

It is remarkably compelling, and - in my opinion - much more accessible than The Master. Compared to, say, Darkest Hour (I'm just choosing something else that's in cinemas at the moment), where they slap on an overbearing score in a sloppy and unnecessary attempt to accentuate the drama, here we have heightened dramatic tension over even the most apparently innocuous of scenarios. And Jonny Greenwood's score is excellent. It's Anderson's best film, in my view.

Hooks Golf Handicap

I wasn't a huge fan of The Master & Inherent Vice just annoyed me with the mumbling.
The gloss had worn off PTA's earlier career for me.

My first reaction after viewing Phantom Thread was "stunning, absolutely stunning".
Firstly it looks delicate & authentic, every detail is designed to put you in the era.
I believe PTA worked as his own cinematographer here & his eye is spectacular.
From sweeping shots up staircases to smoke filled rooms of the time, every scene is a picture.
Greenwood's score, mostly piano based this time, is the perfect companion.

I had feared that DDL would revert back into Age of Innocence English Gent here but I should of had no such fears.
He is a refocused version of Daniel Plainview, capable of compassion yet given to disdain when the occasion demands it.
This is an acting masterclass which I'm afraid we will never see the like of again.
He is served well by his female supporting actresses who play his sister Cyrill & his muse Alma.
You really get the felling that PTA is getting the maximum out of everyone.

Head & shoulders above this years Oscar bait.
PTA's tour de force.

After watching this film I don't think it would be too much of a stretch to say DDL is the greatest actor to ever grace the screen. Such an immaculate performance. Like his character had mastered the art of dressmaking, he has mastered the art of acting to a level that even greats like Oldman just seem like a supporting cast in their best efforts.

El Duda

Phantom Thread - 9/10

Paul Thomas-Anderson and Daniel day-Lewis team up again to deliver another masterpiece of modern cinema. If this indeed is DDL's last ever film then we have just said goodbye to the greatest actor of all time. It is an astonishing piece of acting acting and very fitting swan-song for his near immaculate career.

The film depicts a power struggle between prestigious dressmaker Reynolds Woodcock (DDL) and his newly acquired love interest Alma (brilliantly played by Vicky Krieps). It explores Woodcock's secluded lifestyle and his addiction to routine. It tells a tale of a man consumed with his profession and forever obsessed with his deceased Mother.

The chemistry between DDL and Lesley Manville is the films highlight. Manville is a stiff lipped delight as she pierces through people with her steely glare. She is a dead cert for the Oscar.

This is elegant and precise film making from PTA. The sets, costume design, art direction and all around attention to detail are breathtaking. The subtlety and nuance in the dialogue and performances is fantastic to watch.

TherapyBoy

Loved it. The most demented love story I ever saw, absolutely beautiful to watch.

LuckyLloyd

I think there will be those who criticise this as an obvious attempt to make a 'work of art' and I there's a certain validity to such criticism, but I didn't care one bit - it's an absolutely gorgeous film that you can simply drink in. How it looks, sounds, feels is just incredible.

Looper007

Loved every minute of it, but to be honest Paul Thomas Anderson is without doubt my favourite director and he never disappoints. I'd still think There Will Be Blood is still his greatest work, and I still have a warm spot for Boogie Nights even though you can feel the love for Martin Scorsese and Robert Altman all over it.

Phantom Thread definitely is up there with his best work, with Day Lewis acting up a storm once again and what a role to go out on (if he didn't win three Oscar's already, I personally think this is more Oscar worthy then Gary Oldman's Churchill performance imo, and I love Oldman). Also Vicky Kriep's is fantastic in a star making performance, total went agaisnt everything I thought it would have gone after seen the trailer. Lesley Manville also fantastic as Day Lewis sister.

The soundtrack from Jonny Greenwood is some of the best stuff he's done and that includes Radiohead. It's one of those soundtrack's that feels like a character of the film. The Costume design is top notch. PTA screenplay is one of the best he's done. One of the greatest scene's from a PTA film when Day Lewis imagines his mother is in the room with him, is one of the more haunting that you see ever.

10/10.

mystic86

I was hoping to see at least a couple of other posts in here expressing mixed feelings about the movie like I did, but you all seem pretty unified in your praise. Back in my box

Smegging hell

mystic86 wrote: »

I was hoping to see at least a couple of other posts in here expressing mixed feelings about the movie like I did, but you all seem pretty unified in your praise. Back in my box

Go ahead and say why sure, would be a dull world if we all thought alike.

I liked it too - PTA is one of the consistently best directors out there today IMO - but I was a bit irritated by people in the screening who were laughing at basically everything Daniel Day-Lewis said... there were some funny scenes, for sure, but it became a bit grating.

sporina

wasn't gonna watch this movie as didn't think it would be my cuppa but boy was I glued to it = DDL totally drew me in - it was like there was an invisible glue - always liked him but never knew he was this good (will have to watch more of his movies now).. Alma was super too - as as his sister.

I loved it - but have some Q's about from the point where they got married; what went on after that?

1. Did DDL know that Alma was in fact poisoning him with the omelette? (he could smell the mushrooms right? and i think he alluded to the fact that he needed to slow down or be taken care of or something)

2. Did Alma have a baby or was that a hallucination scene like then he thought he saw his mother in the room?

3. Did Alma actually love him or did she just see him as a challenge? Someone to take him out of his routines? Or perhaps do so in order to reveal the sensitive side of him? Though I don't think that making him sick counts as a way for him to show his affection.

All very interesting

Thought that is was based on a true story but I have learnt that its not.

In any event - was glued to it - loved it - whether I am unclear or not about the ending..

myshirt

Quite enjoyed this film also. Was almost like a beautiful sensory experience.

Hooks Golf Handicap

I've a feeling into 10 years time we wont remember Shape of Water or 3 Billboards when we look back.
This for me was the movie of this award season.

sporina

Hooks Golf Handicap wrote: »

I've a feeling into 10 years time we wont remember Shape of Water or 3 Billboards when we look back.
This for me was the movie of this award season.

i adored 3 Billboards (it is right up my alley) but I did also love The Phantom Thread (unbeknownst to me).. DDL totally drew me in .. I didn't really buy the end of the film but I just went with it - it somehow worked.. after all, none as queer as folk etc...
I would actually watch it again for the acting alone and there are v few films I would say that about