The acme of Paul Thomas Anderson’s self-conscious plundering of the American cinematic canon, There Will Be Blood is so freighted with importance and fraught with visions of its own mythical, apocalyptic dimensionality that it would crumble under the sheer girth of its own doom-laden edifice were it not so classically skillful and crafty. Plunging right into the heart of not only Upton Sinclair’s short story “Oil” but centuries of canonical American masterworks, There Will Be Blood jumps headfirst over Anderson’s scruffy Altman fetish and sets its sights on the mac daddy of American filmmaking: Citizen Kane. It’s truly a cinematic Icarus, attempting to rope together a century of prior national cinema, cut through the fat, and encroach on – and then tyrannize and desecrate – the American sublime. It’s a foolish and foolhardy quest that Anderson’s film is destined to fail at, but bless it for trying. Continue reading
With two images of social collapse under his belt, writer-director Paul Thomas Anderson wisely made the decision not to repeat himself with his first 21st century film. Magnolia was akin to dropping a bunch of loose human animals in a preserve just to experiment, even if Anderson never lost his personal compassion, never diminished his characters to mere subjects of analysis. Magnolia was also a monolith, a messianic and almost apocalyptic vision of life at the end of the 20th century that (fairly successfully) interpreted depth as only a question of breadth. Understanding its subject was equated with conquering any and all subjects, consuming monoliths with a hubristic and unerring pull to complicate through augmentation, amplification, and magnification. Which, glorious though that film was, also sacrificed a certain intimacy, out-sizing the boldness of its landscape and its “visionary” status at the expense of its ability to register untold personal truths, to intimate the unvoiced longings and desires at the core of its tale but sometimes drowned out by the grandness of the camera, the monumentality of the sound, the exorbitance of the design. Continue reading
After a decade or so building up his reputation as the heir to the throne of Kubrick, Scorsese, or Altman (depending on one’s critical proclivities, or the specific scene one is viewing), writer-director Paul Thomas Anderson’s edifice has since lightly toppled, or at least begun teetering. He has thus far spent the 2010s in a mild critical comedown. But, perhaps having attained the mount, he’s also fallen a dizzying, wholly edifying route, pirouetting with grace and exploratory abandon by virtue of his will to test his own mettle rather than rest on recapitulating past glories, often one’s borrowed rather than conjured on his own. Only in the 2010s has Anderson finally cultivated his own genuinely contradictory style, and folded in the parallel and perpendicular tendencies of his forebears, say jittery Scorseseian nerviness, soft and humanistic Altmanesque woundedness, and calculating Kubrickian brutality, in intoxicatingly heterodox ways.
With his two films of the decade preceding The Phantom Thread, he both deliberately plays up his inscrutably high-brow and his incredulously low-brow tendencies, often thinning the membrane between the two until the safety of assured boundary is nonexistent. First up was The Master, his highly elliptical, self-consciously masterful analysis of mid-century loss galvanized in two human figures whose relationship is liminally slotted between father-son, not-quite-lovers, master-servant, and allegorical two-sided-Janus-head. After Anderson spent five years on this follow-up to his rapturously adored There Will Be Blood, audiences were certainly expecting (hoping for?) something less willfully alienating. But what they got was an atomic-age potboiler and a grandiloquent melodrama walking into a bar, both flattened under the all-seeing eye of searing 70mm art-house muscle.
The Master may seem a little too capital-A artistic for its own good, but beneath the film’s beauty lies a subterranean labyrinth of lost American dreams, haunted ambition, and aimless humanity just searching for an exit. It’s the first of Anderson’s films to truly wander with errancy, to move with the fascinatingly irregular, haphazard sense of its characters hesitant, staggered attempts at human connection and belonging. The first of his films to speak with his characters rather than for them. The first not to calculate its self-consciously limber camera glides with a stuffy, overly-manicured perfectionism and over-determined striving for greatness. It’s the first of his films to harbor a subcutaneous element, to expose the push-pull between explicit social revelation and private intimation, the first of his films aware of the opacity its characters carry and cultivate in their attempts to preserve their individuality apart from society even as they search for a facsimile of family amidst mid-century American disenchantment. Continue reading