Talking Movies

May 1, 2018

From the Archives: There Will Be Blood

Another dive into the pre-Talking Movies archives finds my sceptical review of the greatest film performance of all time in a work of staggering genius.

Paul Thomas Anderson’s Oscar winning saga of oilmen in early 20th Century America opens with a dialogue free 15 minutes. In them, Daniel Day-Lewis’ monstrous capitalist Daniel Plainview scratches in the ground for gold before striking oil for the first time. Every critic worth their salt has jumped on board the ‘Hey let’s compare 2001 and There Will Be Blood’ bandwagon and so will I. Comparisons to the opening sequence of 2001 are, indeed, apt. Both sequences showcase a director more intent on confirming their auteur status by showing off their long tracking shots than on actually telling a story or giving a proper introduction to the characters. It is not coincidence that the scores of both films are given such praise, oftentimes nothing else of value is happening.

Radiohead guitarist Jonny Greenwood’s score is tremendous. He early on uses a very 19th Century style of lush Romanticism that stretches harmony to breaking point before settling into a more modern dissonant and percussive mode that conveys the energy and darkness of Plainview. There are sequences when Greenwood’s use of pure percussion with gradually added staccato strings overshadows the boring visuals it scores. The problem is that screenwriter/director Anderson is so deeply in love with his pointless tracking shots (see Magnolia…) that it works against his storytelling. Major themes are flagged and then never engaged with. You keep waiting for the film to kick up a gear, then realise it’s never going to interrogate God versus Mammon, or do more with charismatic charlatan preacher Eli Sunday (Paul Dano). The final half-hour is terrific but it sees the film veers towards deranged comedy including Day-Lewis’ infamous delivery of the line “I drink your milkshake!”, which is, by itself, worth sitting through 157 minutes for.

Daniel Day-Lewis’ performance could never justify its hype as one of the finest in the history of cinema. The surprise is that it’s not even the finest of his career. His Oscar seems to be an apology by the Academy for not recognising his terrifying turn as Bill the Butcher in Gangs of New York. The first sign that something is rotten in the state of Daniel comes with his first speech, delivered in an accent suspiciously like his 1870s fop Newland Archer, from The Age of Innocence. Later he starts phrasing like Anthony Hopkins before finally edging towards Sean Connery’s accent.

This film is a classic example of the dangers of hype. Seen blind Day-Lewis gives an accomplished performance in an overlong film that meanders badly but has some wonderful set-pieces of oil accidents, deranged greed and religious mania, with a number of truly memorable exchanges between Plainview and Sunday. Seen after all the Oscar hoopla you downgrade a respectable 3 star film to 2 stars. This is worth seeing, just disregard the hype.

3/5

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