Director Paul Thomas Anderson’s beautifully made feature film, “Phantom Thread,” further proves that any occupation can be simultaneously artful and grotesque.
Anderson’s previous films have explored the lives of an oil tycoon, a cult leader, a private detective and a porn star.
In “Phantom Thread,” Anderson delves into the fictional fashion world of 1950s London following the lives of renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his muse, Alma (Vicky Krieps).
What at first appears to be a story about Reynolds’ obsession with his craft as a dressmaker and designer turns into a hauntingly fascinating love story about vulnerability. Reynolds first meets Alma when he goes to the English countryside to get away from his work in London. During their first date, Reynolds takes her measurements and has Alma try on different dresses.
The film continues to depict the relationship in a similar nature: Reynolds uses Alma as his muse and model for dressmaking. Otherwise, he is verbally abusive to her and does not seem to care much for her at all. Their relationship is complicated even further when Alma finds a life-threatening way to weaken Reynolds so that he will depend upon her. To say much more would be to give away one of the film’s crucial plot points.
While the film moves slowly, “Phantom Thread” satisfies in several ways. One of those ways is the unconventional storytelling, which has a lot to do with the pacing of the film. Much like Anderson’s other films, “There Will Be Blood” and “The Master,” “Phantom Thread” does not adhere to the fast-pace, punchy, Hollywood-style form of storytelling that we are so accustomed to seeing nowadays.
This film almost feels like a novel in that the storytelling does not sacrifice character development for quick pacing.
The storytelling always pleasantly surprises the viewer. This is a testament to Anderson’s writing, as the film remains unpredictable throughout.
The film also works because of the joint effort between the film’s costume designer, Mark Bridges, and production designer, Mark Tildesley.
Their work makes for a stunning and unforgettable visual experience, especially because Anderson does such an excellent job lighting and shooting Bridges’ and Tildesley’s work.
Another superb element of the film is the dialogue, which at times is poetic and at other times is stark and dry, but always helps develop the characters.
But the film really stands on the shoulders of actors Day-Lewis and Krieps. Day-Lewis is phenomenal as always. With Reynolds Woodcock, Day-Lewis portrays obsession, suppressed frustration and a vulnerable sensitivity with such ease that he disappears into the character.
However, the film’s real star is Krieps. Her ability to present all of Alma’s inner struggles through expressions and physicality provides the necessary balance to perform opposite Day-Lewis.
“Phantom Thread” marks Day-Lewis’s final performance in a film. It was announced last year that the three-time Oscar winning actor would retire from acting after “Phantom Thread.”
After seeing the film, it is all the more evident why Day-Lewis is considered one of the greatest actors of all time. It is a shame that we will not see more from him in the future.
“Phantom Thread” received six Oscar nominations: Best Picture, Best Director, Best Actor, Best Supporting Actress, Best Original Score and Best Costume Design. Anderson’s work on “Phantom Thread” proves that he is one of the best filmmakers and storytellers of his generation.