Exploring the Fabric of a Fashion Designer’s Mind

Daniel Day-Lewis and Vicky Krieps in "Phantom Thread"
Photo Credit: Imdb.com

Paul Thomas Anderson’s a writer and director who’s known for his films that are narratively ambitious, having complex stories that encourage discussions afterwards.  He’s done this with films like “Inherent Vice,” “The Master,” “There Will Be Blood,” “Magnolia,” and “Boogie Nights.”  These films are all memorable in their own way, each with a story that’s populated by distinctive characters.  He’s the kind of director where, whenever he releases a new movie, you know you’re in for something unique.

For his latest drama, “Phantom Thread,” he delves into the world of fashion.  And, sure enough, he finds a provocative story to tell, which is bolstered by a trio of masterful performances, including the supposed final film role for the legendary Daniel Day-Lewis.

Reynolds Woodcock (Day-Lewis) is a clothing designer in 1950s London, where he dresses the members of Britain’s high society, while his sister, Cyril (Leslie Manville), takes care of the day-to-day operations.  As Reynolds is on a getaway, he meets a young waitress named Alma Elson (Vicky Krieps), to whom he becomes attached.  He soon brings her back to his home/studio to be one of his models.  Soon, their relationship proves to be more mentally tasking than either one of them predicted.

Watching Daniel Day-Lewis is a rather bittersweet experience because he’s an absolute titan of the screen, but you know that you might not get to see him in another new project after this.  He’s very selective of his roles, usually having a gap of about five years in between movies, and since this is his second collaboration with Anderson, 10 years after teaming with him to give audiences the ferocity that’s “There Will Be Blood,” this duo brings wonders to the screen once again.  However, what’s great about his acting in this film is that, even though it might his last performance, he doesn't try to make it as grand as possible.  Instead, it’s subdued work, as he’s an artist who must keep his calm in order to concentrate on his craft.  In the scenes where he becomes irritated by some of Alma’s actions and traits, you can feel the annoyance that’s bubbling underneath his calm demeanor, but he knows he has to remain levelheaded in order to keep his ideas in order.  It’s a performance that’s perfect for Day-Lewis because just as he’s committed to getting his characters just right, his character is the same when trying to perfect his clothing designs.  Reynolds is a reflection of Day-Lewis and the commitment to his work, and that’s what makes this role the perfect (rumored) send-off for him.

Vicky Krieps gives a stunning performance as Reynolds’ new model and romantic partner.  I won’t give much away about her role, but it’s a character who becomes something you don’t think she will.  It’s a radical change that Alma undergoes, but with her character’s circumstances, as well as Krieps’ approach to the role, the drastic change is made believable.

Leslie Manville delivers terrific work as the quietly combative Cyril.  Her character is one who knows how her brother functions, and also has Alma’s best interests at heart.  With this, Manville displays a toughness in Cyril as her character works to keep Reynolds’ behavior in line, providing an ability to verbally spar with him while adding an occasional touch of humor to her directness, particularly in her “Don’t pick a fight with me” scene. 

Although it takes a while for the plot to kick in, Anderson’s screenplay soon begins to unravel the mounting psychological drama and suspense.  The more we see of Reynolds and Alma’s relationship, the more we see the toxicity that begins to fester underneath their seemingly idyllic world, making this a fascinating look of an artist and his muse whose relationship begins to strain them both.

One of the intriguing aspects about this story is how, because most of the other characters that appear throughout the film are minor, the narrative spends pretty much all of its focus on Reynolds, Alma, and Cyril, presenting palpable tension among the three of them as you begin to wonder where each of them will end up at the film’s conclusion.

When you’re watching the movie, it may seem as though Anderson has written Reynolds and Alma in such a way that renders them unsympathetic.  While you may feel like this is the case at first, their significant flaws make their troubled connection so compelling to witness because even though their actions are ill-judged, it makes sense narratively that these characters would commit such actions.

As a director, Anderson is accomplished at analyzing the distinct settings that his characters inhabit and finding compelling stories within said settings, be it the criminal underworld of Los Angeles in “Inherent Vice,” a religious cult in “The Master,” the twentieth-century oil business in “There Will Be Blood,” the deep, interconnected stories of San Fernando Valley in “Magnolia,” or the adult-film industry in “Boogie Nights.”  As you begin watching one of his movies, you know there’s going to be a lot going on, with a good deal of it being under the surface of the film’s events, and it all leaves you to ponder over the meaning behind the story.  Just like Anderson’s previous films, such is the case for “Phantom Thread.”  Besides the vivid stories and masterful acting his movies always offer, he’s also never one to skimp on the technical aspects, with the cinematography and music being two of the film’s highlights.  

Seeing as Anderson displays carefulness when crafting his films, as a clothing designer does with the carefulness of threading a needle, he continues to prove why he’s one of our best American directors working today.

Final grade: A-