There Will Be Blood (Paul Thomas Anderson, 2007): USA

Reviewed by Byron Potau. Viewed at Parks Plaza Theatre, Buellton, Ca.

There Will Be Blood

It is difficult to know what to make of Paul Thomas Anderson’s latest film, There Will Be Blood. A character study of a hateful man who becomes even more hateful by film’s end, it attacks the viewer’s sense obliquely.  Even the most overt scenes, seemingly, have something hidden underneath, steeped in subtlety, elusive and intangible.

Blood’s main character, Daniel Plainview played by Daniel Day Lewis, is a lone prospector when we first meet him.  He is a misanthropic man caring only about matters of business.  Daniel adopts a boy recently orphaned by an oil rig accident.  His intentions are to exploit the adoration the boy will receive to make Daniel appear more warm, familial, and appealing to townsfolk who are potentially going to allow him to set up oil derricks on their land.  However, Daniel clearly loves the boy he has named H.W. and has formed as tight a father son bond as ever there has been in film.  Yet, Daniel’s sudden inability to communicate with his adopted son forces him to turn a deaf ear to H.W.

Daniel’s potential for family love is further plumbed when his half brother shows up out of nowhere to ask Daniel for a job.  Daniel’s loneliness and feelings of alienation surface and he is happy to have someone with the same blood flowing through him with whom he can share his utter contempt for the world and all its people.  However, Daniel soon buries this relationship as well.

One of the more intriguing storylines of the film is Daniel’s confrontations with the preacher/healer Eli Sunday, played by Paul Dano.  Eli’s willful, quiet intrusions on Daniel lead to several of the film’s most intense scenes including Daniel’s tempestuous baptism at the hands of Eli.  It feels as if at least one scene is missing from this confrontational relationship that would help us to pin down the unexpected and, seemingly, inconclusive ending of the film.

The components of the film are brilliant from Daniel Day Lewis’s explosive and inhabited performance, Robert Elswit’s nostalgically haunting cinematography, excellent supporting performances from Paul Dano and Dillon Freasier as H.W., and the sometimes driving, sometimes lyrical original music by Radiohead’s Jonny Greenwood.  All of these components work to excel the film past ordinary.  The film will not take you where you expect to go, but even so there is much to enjoy along the way.  Though, not Anderson’s best film, it is worth the watch, a worthy addition to the Anderson oeuvre, and the stuff second viewings are made for.


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