Phantom Thread (Paul Thomas Anderson, 2017)

[FrauBlucher]

Got to see his last three early. Maybe because it's awards season they'll add some screenings before it actually opens to the public. Although, not sure if they do that.

[hearthesilence]

Not to sound like sour grapes, but my expectations have diminished a bit in the wake of what's been released so far (not just the trailer but basic info about the film). It's hard to put in words, but his last three films had something like an air of mystery that just grew the more I knew about the film before actually seeing it. I'm not a fan of Inherent Vice, but in some ways it still lived up to the fascination that was built up from what I found out in advance. But for whatever reason, I don't really feel that much of an urge to see this one. I'm hoping to be surprised. But so far the tantalizing glimpses haven't been that tantalizing.

[FrauBlucher]

I think the storyline doesn't sound as intriguing as the previous three films. It sounds kind of basic. Almost like this has been done before, especially in old Hollywood. So the mystery is not as it has been with prior films.

I think the intriguing notion for me is this is definitely not something PT has done before. I at least get that idea from the bits and pieces.

[mfunk9786]

Rumors abound about how the film has an ending that rivals There Will Be Blood in terms of impact and future controversy. Y'all are crazy if you think this is just going to be a movie where we see a guy make dresses and fall in love and then the credits roll just because the trailers have trended in that direction. Particularly in the full-length theatrical trailer, there is an air of palpable (tantalizing!) menace. Inherent Vice was beholden to a storytelling structure that was not Anderson's - less of an ability to end on a huge note when you have to be very loyal to a novel that insists you end on a wistful one. I don't know if Anderson really knows how to write a boring screenplay, and he definitely knows well enough not to shoot one.

[FrauBlucher]

Y'all are crazy if you think this is just going to be a movie where we see a guy make dresses and fall in love and then the credits roll just because the trailers have trended in that direction.

I agree with you and definitely don't see it playing out this way. I was only saying that this story seems less of a PT story, but am sure the full Anderson feel and psychology (and ending) will be front and center. It wouldn't surprise me if this, including the storyline, is a bit of homage to Max Ophuls, whom he has said has been a pretty big influence.

BTW... For anyone in the DGA there will be a screening at the DGA theater in NY December 13th. There is a q&a following.

[Dead or Deader]

My directorial friend is going to that DGA screening and give the feedback to me after the q&a, just as he does when he attended these events.

The originally rumored three hour length was blown to portions and now the film is according set to be 115 minutes. With the length this would make it the third shortest film of Anderson's career, considering when Hard Eight premiered at the Cannes Film Festival the length was 154 before Rusher Entertainment stepped in and took half of the film away from Anderson. One film blogger said this was the most accessible film of his in awhile, though I don't know how a dark period piece would faire since Anderson work has been getting more exotic and less conventional in structure. If movie stars couldn't bring audience to the theaters I'm not sure this film would, doubtfully if the ending is as polarizing and off-putting as There Will Be Blood and Magnolia.

[ianthemovie]

More second-hand reactions to the film, as reported by Anne Thompson on the Indiewire podcast:

I spoke to someone today who saw it and they said that I was going to really like it, that it may not be totally Academy friendly but it's better and more accessible than the last two of PTA's.

EDIT: Interpret this as you will, though "better and more accessible"--which I take to mean "better because more accessible"--than The Master and Inherent Vice does give me pause.

[dda1996a]

Well I really liked Inherent Vice and The Master is a masterpiece so for me that says nothing. But why are we even anxiously guessing what the film will be like? I've never been disappointed by Anderson (that includes his recent foray into music, a la Junun and Valentine), and Day-Lewis not only carefully selects his projects, but chose this to retire on. And their last collaboration is one of my favorite films of all time.
And it's not like Anderson keeps adhering to the same genre.
Consider this my most anticipated film in the next year (followed by The Incredibles 2)

[Roger Ryan]

I'm just glad Anderson is still making features and is able to turn them out at a more regular pace (three in five years). That five-year gap between Punch-Drunk Love and There Will Be Blood seemed like an eternity, as if Anderson had lost his creative focus. When another five years elapsed between ...Blood and The Master, I figured Anderson was on his way to emulating Kubrick's eventual release schedule. Given the major studios' disinterest in supporting mid-budget dramas, the recent bounty of Anderson's idiosyncratic work feels like a minor miracle. I guess we should thank Megan Ellison for supporting him, along with Jonze, Linklater, and others whose work found much easier funding fifteen years ago or so.

[ianthemovie]

It's also my most anticipated movie, and I have faith that he will deliver, because I've liked all of his films and love many of them.

The Master is also a masterpiece in my estimation, and I liked (but didn't quite love) Inherent Vice...which is why that quote by Anne Thompson gives me pause. Hearing that Phantom Thread is "more accessible" does not necessarily excite me, because I loved the enigmatic and oblique tone of The Master and would love it if he continued in that direction. Then again, if she means that Phantom Thread holds together better than Inherent Vice, the plot of which was too shaggy for my taste, that could be a good thing.

[mfunk9786]

Oh, quietly it has been revealed that this is 115 minutes long, by the way.

[swo17]

Oh, quietly it has been revealed that this is 115 minutes long, by the way.

So quietly you missed it five posts up.

[mfunk9786]

Shhhhhh!

[John Shade]

Here's an article where Anderson mentions the Rebecca influence, raising the excitement for me.

[phantomforce]

Went to the premiere today. Very cool screening and PTA's first time watching the film with an audience (of course his fam and friends as well as press were there), but it was a very intimate and packed house at 2pm in beverly hills.

Without spoiling much,

SpoilerShow

this is his most intimate and 'art house' film. It's technically a gothic romance, but it's also quite a philosophical gut punch, much like the killing of a sacred deer. Definitely his most different but sharing the most resemblance to There will be blood. In the Q&A PT mentioned Hitchcock - Rebecca, Vertigo, and a few obscure 40's and 50's titles but I couldn't help but think of Visconti overall. The lead actresses as well as PT were a bit mixed as to who the real influence in DDL's character was, but Cristobal Balenciaga seemed to be the most referenced. All in all, its a great film, but very, very slow and very stiff. I am certain that PTA wrote it a certain way and DDL took over and turned it into something else as most of the leads as well as PTA were careful not to intrude on DDL's method acting (Krieps even said she was not allowed to talk to DDL without her costume) and that every detail on set down to the tiniest cup hidden in the sink had to go through DDL for approval.

A very fine, beautiful film to be honest, however the true star for me was the incredibly beautiful soundtrack. Very surprised that Johnny Greenwood was able to turn in such a wonderful score.. its just pure class.

[phantomforce]

Also, I don't think this will be DDL's last for a while. When someone asked PTA how he felt about delivering DDL's last work, he was a bit shocked and taken aback and had to think for a moment before deciding that he was honored to be a part of that, but it seemed like it was news to him.

I don't think DDL would want this to be his last film, I see much more complex work to come from him.

[mfunk9786]

it's also quite a philosophical gut punch, much like the killing of a sacred deer.

Gut punch is right! Let's hope not.

Also, thanks for not spoiling the film here (even in boxes at this point, since we're about a month out from release, although I guess there would be nothing against the rules about filling in a spoiler box, just sort of a bummer...)

[phantomforce]

added a spoiler box, though I don't think anything I've written spoils the film in any way that can't be seen in the trailer.

[mfunk9786]

Wasn’t at all suggesting that anything in your post was spoiler-y.

[phantomforce]

Ah cool, misunderstood, just want to be extra careful not to give too much away / not enough away, etc.

One small addition I forgot about - the very end of the credits has a title card dedicated to Jonathan Demme as well as Maya and his kids.

[hearthesilence]

Apparently PTA, DDL, Manville and Krieps were at tonight’s preview screening at the DGA theater in NY. Damn you Focus, why did you make me choose between this and my family??

[HitchcockLang]

The photography looks quite lovely in the trailer. If it were to get a cinematography nomination, who would they nominate if there is no credited DP?

[hearthesilence]

Coverage on the evening's Q&A with a short video of it.

Best part:

“When I made the [audition] tape I thought it was for a student film,” Vicky Krieps laughed. “The writing was that good,” PTA quipped back.

[The Fanciful Norwegian]

The photography looks quite lovely in the trailer. If it were to get a cinematography nomination, who would they nominate if there is no credited DP?

It won't get a cinematography nomination. To submit a film for consideration in the "general entry" categories, the producer or distributor submits a form with a field for each category reflecting the screen credit (except for the Score, Song, and Visual Effects categories, which have different rules). If there's no screen credit for a particular role, then the film isn't eligible in that category.

[mfunk9786]

If anything, it probably just increases the odds (though maybe not in a measurable way depending on how the winds are blowing) that Anderson receives a Best Director nomination.