Phantom Thread is a masterpiece. The great Paul Thomas Anderson is back, and this time he’s paired, once more, with the legendary Daniel Day-Lewis. Their previous film together, There Will Be Blood, is widely considered one of the best films of the 21st century, so to say there was some hype behind this one is something of an understatement. Anderson’s last film, Inherent Vice, was a rather messy endeavor that was a little too incoherent and loose with its style for my tastes. But I think P.T. Anderson realized that, too. This time, his cast is down to three rather than the enormous supporting cast of Vice. This allows Anderson to intimately focus on the intricate and dynamic relationship between the lead characters in this film, Reynolds and Alma.
This relationship is the centerpiece of Phantom Thread, and these characters are played masterfully by Day-Lewis and Vicky Krieps. We all know Daniel Day-Lewis is one of the greatest method actors in the history of Hollywood, and he reminds us why, again, here. But I can’t imagine what it must’ve felt like to have to play opposite a man as intense as he is. (Reportedly, Day-Lewis insisted on meeting Krieps for the very first time on set while filming their first scene together.) Krieps more than holds her own and creates an utterly fascinating character in the process. There’s so much intrigue and depth to her character, and the relationship between her and Reynolds is intoxicating. The whole film is about their back-and-forth power struggle and Alma’s eventual transformation from shy waitress to a muse on equal footing with the demanding Reynolds.
Day-Lewis spent a year studying couture preparing for this role, and his attention to the most minute of details are ever apparent. The relationship between these characters will be analyzed for years to come, and every scene involving the pair, even down to a simple look between them, is mesmerizing. Day-Lewis has said this is his last role, but as one star rides out into the sunset in triumphant fashion, another rises to take his place. Welcome to the top of the world of A-list movie stars, Vicky Krieps. What an incredible casting choice from Paul Thomas Anderson. The sheer unknown that comes with Krieps as an actress is undoubtedly a strength of the film. Having to play opposite a man of Day-Lewis’s caliber . . . well, it has certainly proved to be too much for people in the past. Fortunately, though, Krieps knocked this one out of the park and rocketed herself into stardom in the process.
Lesley Manville is intriguing as Reynolds’ sister, Cyril. Despite how demanding Reynolds is, both Cyril and Alma find their own ways to have power over him, and it’s simply magnificent to watch.
Everything about this set is meticulously chosen by P.T. Anderson. The costumes are brilliant and tell their own story. The freaking food choices from Reynolds tell their own story. Everything has a purpose here. I’ve seen this film multiple times now and I know there are still dozens of details that I’ve missed.
And holy Jonny Greenwood, the score! Jonny: can you please wade into Hollywood films more deeply than just P.T. Anderson flicks? This great score comes from Radiohead’s lead guitarist. Who needs John Williams? It’s mysterious and memorable, just like Alma, and demanding and intrusive, like Reynolds. On the second viewing I already found myself humming along to it, too. I love it. I haven’t liked a score this much since Junkie XL’s haunting score for Mad Max: Fury Road.
About the only complaint I have with this otherwise perfect film is something of a pointless MacGuffin thrown in as “jealousy” seemingly introduced into Reynolds and Alma’s relationship, but it doesn’t really go anywhere. However, this fault doesn’t occur until well into the third act and relatively minor overall.
Phantom Thread is the very definition of the often overused word “masterpiece.” It is the best film of 2017, and is every bit worthy of the hype it has garnered.
