There Will Be Blood [review]
Paul Thomas Anderson is back after a five year halt on his film making. His last film wasn’t very good, and since most of his films have been dramas about life, I was worried he wouldn’t be able to handle this periodical material well. Considering from the trailers the film looked like an overlong, ‘look at the scenery, but the film has no substance’ type flick, I was really terrified I wouldn’t enjoy myself, nor find any type of value in the film. Fortunately, the film is not like this at all. From the wonderfully thought out fifteen minute scene without much speech, showing Plainview’s life as a young adventurous man, looking to prosper by mining for oil and diamonds, to the stunning, yet darkly comedic ending, the film has it all. Anderson’s take on this film is that of epic proportions, showing his full talent and also showing he doesn’t need a fantastic ensemble to prove his merit.Going into the film, I forgot P.T. Anderson was a chameleon of art. From his first film about a criminal teaching the tricks of the gambling trade to a hitchhiker with nowhere to go, to his awkward romantic comedy about trying to find happiness in life, he can do it all. For some reason, I felt he could only do ensemble pieces, and completely forgot about his other two films.First, I’d like to discuss his wonderful use of silence. Not even in No Country for Old Men have we felt such captivation in scenes basically on mute. The opening fifteen minutes are a perfect example. It seems like a particular way to open such a periodical film, but it does work very effectively. Unlike what one would expect - which is to be turned off by such a scene - it really ensnares you. You shouldn’t be bored from the get go, but thrown back more or less. It conveys the Daniel Plainview’s mindset so perfectly in those minutes. Such a wonderful way to start off a film. I’m sure if I’d seen 2001 : A Space Odyssey beforehand, I could compare the two seamlessly.
His choice to make the film long was also a fine one. Well, more than fine actually. With him helming the film, the pacing was off the charts. At 160 minutes, you’d expect to be bored because it’s a film about oil, but it is not boring in the least. While some scenes will be kind of boring, it’s only a matter of a few minutes until the film gets back on track. While you’re watching the tragedies that occur throughout the film, you feel as Plainview feels. Anderson’s direction is very sharp in this aspect. You’ll see one thing, and know that it’s wrong, but Anderson’s ideals were much different from a drama with fluff. Rather than this, Anderson decides to make you feel as the main character feels, and considering the main character in this is an insensitive and self-absorbed individual, his direction reflects upon that. In another film, you may cry when you see something terrible happen. In this, you feel the need to hope that it will blow over and he’ll be on his way again.
As the film works it’s way to a close, it’ll only feel as if an hour had gone by. With all the beautiful scenery, with all the glorious chemistry Anderson created, and with every scene riddled with the potential to throw you back, you will never get tired of the film. One of the best directorial jobs of all time… this is Anderson’s Mona Lisa, and to call it anything short of that is absurd.
Onto the beautifully structured screenplay, adapted by Paul Thomas Anderson. Alright, he must’ve worked out all of the kinks in his mind when he read the book, because the screenplay is flawless. Every line is meaningful to the plot, and no line seems out of place. His strong points in both the writing and direction were the Church scenes. He made every scene that involved the Sunday family or any scene in the Church of the Third Revelation so wonderfully intense, that you’ll literally be drawn into the scene so much that you’ll be gazing at the screen in disgust and awe. With these scenes come big opportunities to shine for all the actors because the writing is so strong but yet malleable enough for the actors to make the great… greater.What the screenplay is all about, is it shows Daniel Plainview’s morality decay slowly, as he loses his once prosperous mind. While the whole film is about Plainview’s life and his problems - over shadowing is the peculiar, haunting whisper of evil running it’s course. Not only does it add another deep layer to this onion of a script, but it also grabs a hold of your mind and won’t allow you to think about anything else throughout the whole film. You grow to hate Plainview, but yet he has this charm to him that makes it really hard to see into the villainy of it all. Is he evil, or is what he is doing just? Either way, you’ll be engrossed by the film.In my mind, the script also excelled in story building. As time passes, tension builds among the characters; creating a realistic and vibrant atmosphere. While some will say the plot is tedious beyond no ends, coming up with an argument opposing that statement would be easier than blinking. The script is constantly occupied with wonderful scenarios and attentive dialog - the writing is simply brilliant. With this, the character’s all have inherent qualities, only built up upon slowly but masterfully; leaving no room for doubt in Anderson’s writing.
Some people may also be thrown off by some of the black humour that circulates as the film progresses, but please don’t think that it tries too hard to be funny. It flows perfectly with the cryptic rhythm; thickening the plot and wowing viewers. None of the comedy seemed out of place, mainly because it was woven and meshed so flawlessly with the story it seemed natural.
All in all, the script works on so many levels; emotionally and mentally. It will astonish you, makes you angry, drop your jaw, have you on the edge of your seat, laugh and possibly cry. As far as period pieces come, this is the most epic of this generation, mastering every angle such a piece can work on. From it’s unique opening to it’s fascinating and abrupt ending (in the best possible way), Paul Thomas Anderson’s diligent effort seemed surprisingly easy. To compare this film to Citizen Kane is a fair assessment, but in my eyes, Citizen Kane only wishes it were as astute as this spectacular film.
Onto the tremendous effort the cast put forward to achieve such a spectacle. From praised veteran Daniel Day-Lewis to child actor Dillon Freasier, the film sports many great performances; everyone fitting their role amazingly. Anderson did a nice job casting very few faces for the film, giving you a real feel for the characters instead of reflecting upon other performances throughout and after the film.David Willis plays “Abel Sunday“, a very quiet man, but a very religious one. While his character is very calm, we hear different things about him, giving the audience a weary and varied opinion on him. On the screen, he comes off as a gracious, peaceful fellow. Off the screen, we hear of him as some monster. Willis plays this character very well. With the cinematography and art decoration behind him, it brings out his dark side well, but his voice and body gestures tell us a different story. While at times the story hints that his evil is of another person’s doings you never find out, leaving you to make up your mind. Willis’ portrayal reflects this. The role isn’t large - in fact, it’s quite small, but David Willis does a great job nonetheless. His chemistry with Paul Dano is remarkable, and the character will stay in your mind, regardless of how powerful everyone else was.Ciarán Hinds plays Daniel Plainview’s long time partner and friend “Fletcher Hamilton“. Though he is more or less just the man Plainview consults, he does shine at times. His part isn’t large, vocally, but it is pretty big given the length of the film. A lot of his dialog is composed of feedback towards Daniel Plainview, but the performance stands strong, even with little dialog. In fact, he steals one scene away from Daniel Day-Lewis, and considering how strong Day-Lewis’ performance is, and given how small Hinds role is, that is remarkable in and of it’s own. I found that this role was perfectly cast, because Hinds face fits the period the film is set in, and he held his own against his cast mates; playing off of Day-Lewis very well.
Dillon Freasier plays “H.W. Plainview“, Daniel’s son. As you should know, Daniel Plainview is quite the character, so his son is obviously one as well; just not in the same sense. He takes abuse from his father day in and day out, so psychologically, this child is tormented. Freasier plays the role of angered, lonely son perfectly; conveying his depression and rage through very few words. His body language is used very well in the sense that it does most of the talking for him - a hard thing for any child to do properly. While the rest of the cast is spewing lines that are dirty and may even make you recoil a bit, Freasier brings innocence and warmth to the table. While the warmth isn’t as warm as it could be - thanks to his character’s upbringing - he shows less depravity than the rest of the characters. This shows that there is humanity, even in evil, we just need to find it. In this character’s life, something bad happens, which changes him forever. Dillion Freasier uses this to his advantage, showing that he isn’t just a cute face, and that he can act. Despite the fact his age disables him from bringing a lot of depth to this character, he does the role as best as anyone else could’ve. He does this by using his body language more fiercely, and it works. He upstages Day-Lewis’ on occasion; a feat that isn’t easily achieved. Hopefully he prospers into a fantastic actor when he’s older. If this performance foreshadowed his potential, he will go far.
Kevin J. O’Connor plays “Henry Brands“, a unique individual indeed. He comes off as a nice guy, but though not-so-deep psycho-analysis, we discover there is more to this man than meets the eye. O’Connor delivers every line with great emotion. He does a great job going though the motions and character development. Personally, I loved when we first see his character, and he is nervous and delivers his lines very emotionally. As the film picks up, he loses these mysterious and peculiar qualities. Then suddenly, it seems as if it’s a completely different character we’re seeing. He goes from mysterious to overly expressive and somehow says peculiar. How did such a quiet, shy man turn into such a bantering fool? O’Connor gives some of the films best lines deliveries from the get go, and even though his role isn’t very long, he does leave a lasting impression upon you.
Onto one of the best aspects of this basically perfect film, Paul Dano. While many will disagree with what I have to say about his performance, I’m sure a minority will agree with me in saying he was simply brilliant. He plays twin brothers “Paul & Eli Sunday“. Paul Sunday is a nice young boy. Curious in getting money quick, and getting his foot into the door to start his own business. Though Paul Sunday is in the film the least out of everyone I mentioned, it gave Paul Dano a lot more room to create a more of an assortment of emotions to work with. He goes from a calm, seemingly fragile man into an overly religious enthusiast, bordering freak. I am, of course, referring to his performance as Eli Sunday. If there is a performance that will grab as much attention this year as Paul Dano as Eli Sunday, shoot me now. He was all over the place with this role. Though the character is fairly two-dimensional, his performance makes him seem deeper than anyone else in the film. Always quick with his tranquil, bordering emotionless speech, Dano grabs not only your ears but eyes. At times in the film, he will jump from this composed, peaceful fellow into an over zealous, intensity filled preacher. While some may call his attempts at pervasiveness laughable, I was completely and honestly stunned. You’ll be both in awe and about to laugh; but not because it’s bad, but because it’s so well executed it will bewilder you, and cloud your former perception of Dano’s performance in this film. In fact, Paul Dano’s best scene will come to some as over the top, but I called it over the top for the sake of bringing another level of intensity to the film. He does it so well that you’ll be convinced he is actually there to fight off demons. He comes and goes, but more often than not, he steals scenes from Day-Lewis. Even when Day-Lewis is at his most furious, Dano somehow manages to make you listen elsewhere, dragging you ever closer to his beliefs and angst ridden youth. By the end of the film, you’ll be puzzled about how wonderful his performance. Was it good or was it over the top by accident? Either way, his execution of this role was beautiful and uncanny. This film was complete thanks to Dano, and not another actor out there could’ve fit the bill so wonderfully.
Alright, now we’re onto the aspect of the film everyone - and I mean everyone - is talking about. This, of course, is Daniel Day-Lewis as “Daniel Plainview“.
As we all know, Daniel Day-Lewis is one of the best method actors to have ever lived. Whether or not you appreciate his performances, you have to respect his dedication to his roles. From not leaving a wheelchair or character for the entire production time of My Left Foot to living in the wilderness where his character might have lived, having to hunt and fish for food, for his role in The Last of the Mohicans. This is a very peculiar individual. Knowing how earnest he is, you could only expect the best from him in his performance in There Will Be Blood.
To start off my review of his magnificent performance as Daniel Plainview, I will say that if you’re hearing things like “It’s just Bill the Butcher rehashed” or “It’s nothing new”, please do not listen to these people. His performance is similar to his performance in Gangs of New York, but this performance is so much more intense and so much more enticing.
Alike the direction, from the silent, yet intense beginning of his performance to his manic expressions and alliteration closing the film, he does it all. The look upon his face alone would garner him a nomination. He goes from a worrisome, lonely man to a mentally imbalanced, “off-his-rocker” type man, and his expressions alone slowly transition his mindset. No one else could’ve done the role with half of the precision or intensity Daniel brought to the role.
Throughout the middle of the film, we see Daniel Plainview encounter many, many issues. Basically all scenes involving the derrick are acted exactly as one would hope. From being gleeful and possibly friendly to an inane, berserk man, hell bent on inducing pain to others, Daniel Day-Lewis delivers it all perfectly.
Some may say he was miscast for this role because his voice and face don’t fit the role properly. Well, I’d have to disagree. His voice is of a withered and raspy, and come the end of the film, this is the exact type of voice needed to complete the dramatic effect. He also alters his voice to make Plainview seem slightly insecure; especially in the scene involving his first encounter with Henry Brands.
The scenes where Daniel shined in the most were the scenes involving the Church of the Third Revelation. Yes, while Paul Dano does excel in these scenes, quick three second glimpses of Mr. Day-Lewis added to the beauty of these scenes. His countenances were mostly comedic, relating to the audience in these scenarios. You’ll laugh when you see his ‘what the hell is going on’ face because you’ll wonder the same thing, and you’ll see that somewhere inside Daniel Plainview, he has somewhat of a sense of humour. (The scenes in the church were my favourites because the actors really brought these scenes to life.)
Another reason why Daniel Day-Lewis’ performance is among the best of the decade and possibly all time; his beautiful play off of other people. His chemistry with Dillon Freasier was par none. He doesn’t give a fatherly type performance when near Freasier. Rather, you feel a cold, distant magnetic force pushing them apart emotionally as they get closer together physically. This is wonderful in every meaning of the word. Daniel Plainview is a monster, Daniel Day-Lewis makes him one of the most despicable characters for that reason alone. His scenes with Kevin J. O’Connor were brief but outstanding. From the get go we feel a cosmic pull bring them together, and for once we feel that Daniel Plainview’s life long void is filled; if in fact he had one. He becomes almost human for the first time since the beginning and his life isn’t all about oil. Well, that is for a brief period of time. Something bad happens, and well, he becomes more depraved than ever. Day-Lewis’ play off of O’Connor was lovely, and vise-versa. There’s this scene at a brothel basically and the intensity in the air is so vibrant you’ll be shaking because you can foretell things are going to pick up, all because these two did a wonderful job together. By far, Daniel Day-Lewis’ best chemistry in the film was with Paul Dano. While Dano was over the top for the greater good, Day-Lewis was composed for the same reason. When these two collided, all hell broke loose. From rage filled hatred disposed into frantically spewed banter to the bizarre looks they each gave each other in a vehemently agitated setting, they played off each other extremely well. I would even call their chemistry perfect. Without their chemistry being as strong as it was, both performances would’ve been frail and not as outstanding.
Through and through, Daniel Day-Lewis’ performance is the best of the year and one of the best of all time. Sure, I may just be over enthusiastic to some, but it’s been almost a week since I’ve seen the film. This meaning in order for something to sink in so deeply that I feel the same as I did on initial reaction, it must’ve been powerful.
Alright, onto the technical elements; which were wonderfully used in this film.
The sound editing was beautiful. The opening fifteen minutes were especially great. All you hear is the clanking of pickaxes against rocks, and other very lovely sounds that are only special if given full attention to. It only gets better as the film progresses, with singled out explosions, footsteps quickening, thuds and other lovely noises singled out. It really helped bring out realistic qualities in the film, rather than have every scene be overly dramatic with an underlining score beneath every single scene.
The sound mixing on another hand was great as well. By mixing some key scenes with the vibrant, fierce score made them breathtaking. Also, the scene at the derrick had great use of this aspect. When the sound mixing team decided to mix the grainy sound of the ever outbreaking fire with the explosion, they created one of the most memorable scenes of the year. The beauty of it all, from the sounds to the photography was just perfect.
The art decoration was great. While it isn’t what the film was made for, the settings and rooms for this period piece fit the time frame very, very well. From looking into the building of the derrick, to the interior of a high class house, the look of it all got better and better throughout the time frame. It just added to the fantastic atmosphere created for the film to prosper.
The costume design was alike the art decoration, only better. It ranges from high class suits, to torn attire to ‘the working man’s clothes’. Thanks to the wide variety of clothing in use, elegance and crudeness worked together in harmony. Again, it only added to the befitting atmosphere.
The makeup was wonderful. Since it is a film about oil, you’d expect the makeup department to have a field day on this film. Yes, they did a fantastic job with the oil splotches on faces and clothing, but they did a much more intriguing job with the blood. There is not much blood in the film, but for what it’s worth, the scenes with it are done amazingly. Imagine, if you will, A History of Violence. Compare the diner scene’s makeup to the work on this film, and it’s basically linear. The barbaric, coarse violence is so well conducted you’ll be staggered in your seat. Indeed, it was some fantastic work.
The film editing was wonderful. While the film clocks in at 158 minutes, not a single scene seemed out of place. The pacing was incredible for the length, always keeping the viewer interested, and even if you get bored, wait a minute or two, and you’ll be enthralled once again. There are a bunch of lapses in time, and the film continues from these periods. As I’ve said before, all of this is beautifully done. The film spans over a couple of decades, and you take it all in as if you’d lived all those years. The film is magical, in that you really feel as if you were there, and not just outside looking in. There are plenty great transitions and you never feel the need to see more of any particular scene; everything is timed perfectly. The film contains plenty of character development and allows you to grasp at what it means, rather than puzzle you with random, inane shots to confuse you unintentionally. As it’s known, the film is long and I am not by any means saying it feels shorter than it is. It does feel long… just in the most magnificent way possible.
The score was great. To be fair, I can’t really get into the score on it’s own, but in the film it was used so perfectly. Now I can understand why people want it to win the Oscar so badly. It is the most innovative score of the year (yes, more innovative than Atonement’s) and fit the film perfectly. With only stringed instruments playing in the background, the sharpness and deepness of it all really sinks in. It’ll have you’re heart pulsating and in another instance it’ll have to shaking in your seat. It was used as a great emotional device, which is where it really counts in the end. It’s not easy to swallow, but neither is the film. For the patient come the benefits, and if you can ‘get into it’, the score will enhance your experience with the film plenty. As for those yet to see the film but are head over heels for the score already, get ready to be blown away.
Onto the one thing that made the film beautiful in an actual sense of the word and not just a way to express the out coming result. This is, of course, the cinematography. Done by accomplished photographer Robert Elswit. As far as his work is concerned, he’s done some miraculous things in P.T. Anderson films. From his lush photography in Magnolia to his glamorous and sparkling photography in Hard Eight, he’s done it all. All but a periodical piece set in many different plains. So obviously with all of this potential, what would you expect a cinematographer to do? He makes this film ever the more memorable with his stunning overcast of shadows and freight inducing darkness. He uses very few colours, and I’d go as far as to say his photography is basically in uniform. This is perfectly fine, because it creates such a haunting and chilling atmosphere; which is exactly what this film is about. For the most part, there is no negative space, but when there is, the standout in the scene really stands out. His vision was daring and it will really be hit or miss; like the film. He gives a lot of peaceful turned disturbing by way of settings, which should be beneficial to the film, but some may be turned off by it. As far as I’m concerned, he contributed to the overall brilliance of the film with his widely atmospheric photography, and it is his best work to date; let alone the best work of the year.
Nominations for There Will Be Blood
Best Picture - (#1!)
Best Actor in a Leading Role - Daniel Day-Lewis (#1!)
Best Actor in a Supporting Role - Paul Dano (#4)
Best Director - Paul Thomas Anderson (#1!)
Best Adapted Screenplay - Paul Thomas Anderson (#2)
Best Cinematography - Robert Elswit (#1!)
Best Costume Design - (#3)
Best Sound Editing - (#4)
Best Original Score - Jonny Greenwood (#4)
9 Nominations with 4 Wins
Rating : 9.5/10 — Bordering 10/10
