Walrus Comix Movie Review:
'There Will Be Blood'

Paul Thomas Anderson has never been accused of lacking ambition. Films such as Boogie Nights and Magnolia stand as testaments to his willingness to explore the notion of latter day epics amidst a culture that has become increasingly disposable and seemingly dependent upon sound bites as opposed to story arcs. Anderson's attention to detail and taste for exploration as an auteur are matched by the considerable talents of his latest leading man, Daniel Day-Lewis. In joining forces onscreen in There Will Be Blood, the duo has produced an enthralling portrait of one man's flawed and unrelenting quest for success. The movie showcases the talents of both men while yielding a few imperfections in the process of establishing itself as a postmodern epic.

There Will Be Blood was largely inspired by the Upton Sinclair novel Oil!, as it charts the journey of self-made oilman Daniel Plainview (Day-Lewis) as he makes his way out of the silver mines and heads for the Pacific Coast in the hopes of establishing a working pipeline and the middleman eschewing profits such a development would insure. Anderson begins his film without dialogue, as Plainview makes his initial foray into the world of black gold, and as with previous efforts, he makes the most of his knack for camerawork and cinematography in representing the American Southwest through a stunning and foreboding series of wide shots. Though Day-Lewis isn't extended the luxury of words during this opening segment of the film, he effectively plants the seeds at the heart (or lack thereof) of his character. When he finally does speak, he has transformed himself from laborer to the guise of a family-oriented upstart tycoon who communicates with a disarming mix of aw-shucks aplomb and forthright authority. With his "son" (I’m surprised Freud hasn’t reanimated himself at the thought of dissecting Anderson’s cinematic depictions of fatherhood) at his side, Plainview sets his sights west and makes his way to California in search of "oceans of oil". He presents himself to the local townsfolk as a family man governed by his love for his young son, H.W., though his actual devotion to anyone but himself is proven to be virtually non-existent. Whatever Plainview may lack in altruism, however, Day-Lewis more than makes up for with his signature intensity, as he lends the oilman a charisma that at once points to his singular ambition and his ability to ensnare others in support of that vision. Day-Lewis is almost without peer when it comes to displaying a mercurial menace deep within the recesses of his steely blue eyes, and he dominates seemingly every frame of the film with the threat of what lies behind those eyes. 

Few men would willingly stand as foils to Day-Lewis' Plainview, but Anderson crafts a compelling rival in small town preacher Eli Sunday (Paul Dano). Dano matches Day-Lewis in his portrayal of Eli as a young man determined to increase his standing among his peers, as the would-be faith healer insinuates himself into Plainview's process of establishing his Pacific stronghold. Whether demanding a contribution to his church or coaching Plainview as to how to properly introduc him before other town members, Eli immediately stands as a thorn in the oilman's side. While Plainview may ultimately despise him and resent his attempts at subversion, there is an unmistakable similarity between the two, as each one applies a healthy dose of snake oil salesmanship to their respective mediums. The ways in which the two men's lives continually interact actually lend the film some genuinely comedic moments, as Plainview's ambition collides with Eli's passive-aggressive obstinance. Day-Lewis and Dano share some highly charged screen time together and exchange unpleasantries both of the verbal and decidedly nonverbal ilk, and their conflict gives the film added resonance as both highly flawed characters attempt to advance their agendas. The ultimate resolution of their relationship is at once shocking and entirely believable given the ways in which they interact throughout the film.

While Anderson succeeds in unraveling Plainview’s story over the course of various decades and instills within his film an epic feel, there are times in which he advances his story a little too methodically. Anderson has always had the requisite confidence to take his sweet time in unspooling his stories, but absent the manifold sub-plotlines that mark his other ensemble pieces, the overall pacing of the film suffers while being wholly dependent upon Day-Lewis’ machinations. Even if he doesn’t fully connect, it’s still pretty exhilarating to see Anderson swing for the fences. There Will Be Blood is a wonderfully overwrought film that revels in its scope even when it struggles to support its own weight. The cinematography leaps off the screen with panoramic shots that extend from Southwestern oil fields to mountain passes that wind their way to the Pacific. Day-Lewis and Dano opt for controlled overacting, and the score by Radiohead guitarist Jonny Greenwood drums itself into the proceedings as if it was an ominous harbinger for all involved. Virtually nobody emerges from this film without a scar or two, but the titular bloodletting orchestrated by Anderson resonates in ways that ultimately justify his means if not those of his characters. 

-Brant Miles