Director:
Paul Thomas Anderson
Cast: Daniel Day-Lews, Paul Dano, Dillon Freasier and
Ciarán Hinds
DVD release: 13 Aug 2008
Rated M
Special Features:
* Fishing - deleted
scene
* Dailies Gone Wild - one single take of Daniel Day-Lewis, in
character
* 15 Minutes of Magic - consists of footage of the film inter
cut with archival footage and photos
David
Lean comes to mind when we speak of epics and one rather thinks
he would tip a nod to Paul Thomas Anderson’s sprawling saga
of oil, dysfunctional families, misplaced religious fervor, greedy
megalomanic power and the wrath of God, There Will Be Blood.
This lengthy excursion into the turbulent days of the pioneer
petroleum exploration and exploitation in California has the feeling
of a classic. that feeling starts right from the first reel, filmed
without dialogue in masterly style telling us much about the central
character’s beginnings as a tough miner. When the film cuts
to him actually speaking as an oil man at a town meeting, the
dialogue is almost a shock. With his confident precise tones he
could be a leader of men or a snake oil salesman.
The story concerns the rise and fall of Daniel Plainview
(Daniel Day-Lewis). Starting out a tough-as-nails silver miner,
he takes his small son H.W (Dillon Freasier) with him on his exploits.
He becomes a leading figure in the new oil business. Plainview
pays for information about oil under a remote town called Little
Boston. With charm overlaid by obsession, he soon controls much
of the land and the ocean of oil beneath. Things change dramatically
in the sleepy backwater under his fanatic guidance and money.
He comes up against Eli Sunday (Paul Dano) the charismatic
zealous young preacher of the local Church of the Third Revelation,
from whose father Plainview has obtained drilling rights. There
is a severe falling out between Eli and Plainview when Eli isn’t
given his chance to bless the drilling rig. While oil gushes forth
Plainville’s fortune is made but tragedy strikes H.W. deaf.
Add to the mix Plainview’s long lost half brother (Kevin
O’Connor) turns up; but is he the real deal or an adventurer
seeking the family fortune.
Trailer
So the years pass as millionaire Plainview declines,
drinking to excess and estranged from his son, he becomes a fierce
enemy of Eli, and harbours deep concerns about his “brother”.
Greed has blackened his soul and he descends into a lonely madness.
The driving force of director Paul Thomas Anderson
(Magnolia) coupled with the breathtaking performance
of Daniel Day-Lewis (Gangs of New York) makes this a
pretty unstoppable blockbuster, despite running two and half hours.
Day-Lewis makes few recent movies and selects larger-than-life
parts when he does. They’re usually memorable roles; and
this is certainly one of his most impressive.
Plainview’s given to homicidal rages, and
has an intimidating disposition; yet he exudes great charm when
necessary. He can turn from good-natured to vicious hatred in
a twitch. “I look at people and see nothing worth liking,”
he says at one point. Day-Lewis's superb delivery of lines has
the echo of John Huston. As Eli Sunday, the young actor Paul Dano
(who appeared in Little Miss Sunshine), plays a complex
exuberant role which he manages with surprising aplomb. The often
humiliating struggle between these two flawed men is fascinating,
rarely are both leading characters so clearly unlovable.
Other features of the movie are the superb recreation
of the period from the 1890s to the 1930s; especially the realistic
harshness of conditions in the drilling rig and the slap up towns
around the oil field. With panoramic barren landscapes, Robert
Elwit’s cinematography never misses a beat, coupled with
powerful incidental music propelling the action. Technically it's
a finely made film, proving the ability of the director beyond
doubt. While having this small rave, I must add there are some
flaws. The major character of Eli Sunday surely found the fountain
of youth as he, unlike the rest of the cast, doesn’t appear
to age in the couple of decades of the story. Also a lull towards
the middle of the film in scenes between Daniel and his half brother
could have been tightened to advantage.
But these are minor gripes. There Will Be Blood
has the power to sweep you along with it right from the opening
shots. As the dramatic last scene goes to black and the credits
roll to the rousing Brahm’s violin concerto, you feel like
applauding Day-Lewis’ riveting performance.
David
Lean comes to mind when we speak of epics and one rather thinks
he would tip a nod to Paul Thomas Anderson’s sprawling saga
of oil, dysfunctional families, misplaced religious fervor, greedy
megalomanic power and the wrath of God, There Will Be Blood.
This lengthy excursion into the turbulent days of the pioneer
petroleum exploration and exploitation in California has the feeling
of a classic. that feeling starts right from the first reel, filmed
without dialogue in masterly style telling us much about the central
character’s beginnings as a tough miner. When the film cuts
to him actually speaking as an oil man at a town meeting, the
dialogue is almost a shock. With his confident precise tones he
could be a leader of men or a snake oil salesman.