Phantom Thread

Phantom Thread (2017)

Starring Daniel Day-Lewis, Vicky Krieps, Lesley Manville

Directed by Paul Thomas Anderson

Written by Paul Thomas Anderson

Summary (in 500 words or less): 1950s England-set film in which renowned dressmaker Reynolds Woodcock (Day-Lewis) falls for a young woman (Vicky Krieps) who changes his perspective on love causing tension between Reynolds and his sister (Lesley Manville) who helps run his business.  The romantic relationship eventually creates a problem with Reynolds' creativity and starts to stunt his growth as an artist.

• A slow burn of a movie, for sure, but an interesting look into the mind of a creative
• Paul Thomas Anderson's direction and cinematography (which he also undertook) framed many shots like artwork; lovely to look at
• Daniel Day-Lewis is quite good in a subdued role, but his character has depth and was certainly an intriguing figure
• The film falters a bit with a rather weird ending; Heretofore, Reynolds was a strong character and by the end Reynolds almost accepts the concept of being weak to please his wife -- something just doesn't quite sit right with me about it at the moment, but perhaps a bit more time will lend a little more perspective to my take on the character
• Lovely score by Jonny Greenwood accompanies the film

The RyMickey Rating:  B

Movie Review - Lincoln

Lincoln (2012)

Starring Daniel Day-Lewis, Sally Field, Tommy Lee Jones, David Strathairn, Joseph Gordon-Levitt, James Spader, Gloria Rueben, Hal Holbrook, John Hawkes, Jackie Earle Haley, Bruce McGill, Tim Blake Nelson, Lee Pace, Michael Stuhlbarg, and Gulliver McGrath

Directed by Steven Spielberg

I was not expecting to like Lincoln in the slightest.  First, it's a biopic -- that alone is enough of a reason to make me run.  Second, Mr. Spielberg's last three films ranged from lukewarm mediocrity (Indiana Jones and the Kingdom of the Crystal Skull, The Adventures of Tintin) to mushy sentimental disappointment (War Horse) which didn't exactly inspire confidence in the director.  Third, I was not looking forward to spending 155 minutes with an historical period piece.  Obviously, this opening paragraph has been a set-up simply to state that Lincoln exceeded all my expectations thanks to a fantastic performance in the title role by Daniel Day-Lewis, a script by Tony Kushner which deals with only a distinct period of time in the sixteenth president's life, and direction by Spielberg that feels like he's gotten his groove back behind the camera.

Set only within the months leading up to the ratification of the thirteenth amendment to abolish slavery, Lincoln details the troubles that the title character faced as a president, a party leader, and a man in attempting to create such a drastic change in our country's public policies.  Through the eyes of Lincoln, we see the struggle he faces -- with the Confederacy ready to surrender, does he accept their terms and undoubtedly diminish the "need" for the amendment and his Republican party's willingness to agree with ratifying it, or does he keep the Confederate's waving of a white flag a secret from everyone.  The difficulties didn't just affect Lincoln either, causing societal conundrums for others as well including Senator Thaddeus Stevens (Tommy Lee Jones), a Republican proponent of full equal rights for blacks.  Stevens obviously strongly supports Lincoln's amendment, but Lincoln asks that the senator soften his enthusiasm towards full equality as Lincoln fears that would be too radical a step and cause even his fellow Republicans to be turned off.

Lincoln as a film might have been a boring historical piece had we not been given an insight in the man's home life as well.  The biggest struggle facing the Lincoln family is that son Robert (Joseph Gordon-Levitt) wants to join the Army and do his part to help his country and its revolution.  Like many parents, I imagine, the Lincolns don't want to possibly lose their son in war, especially after having just recently lost son Willie likely to typhoid fever.  Mary Lincoln (Sally Field) takes a very strong stance, angry at the notion that her husband would even consider allowing Robert to pick up a gun and head off to the battlefield.  This tension amongst the family adds another layer to the portrayal of Abraham Lincoln showing him not just as a politician, but as a husband and father and the conflicts that come with those familial roles.

Much praise has been heaped upon Daniel Day-Lewis already for this role and more is certainly headed his way.  It's all deserved.  As much as I hate the fact that yet another historical "impersonation" is going to win an Oscar, there's something transcendent about his portrayal here.  There was never a single moment in the movie where I felt like I was watching an actor.  I was able to completely lose myself in his role thanks to the strongly resolute, yet quirky down-home quality he brings to the character.  As Spielberg rather brilliantly has the camera stay stationary during many of Lincoln's lengthy anecdotal speeches, Day-Lewis is allowed several long takes to completely lose himself in the character.  These longer takes also allow us in the audience to feel as if we are one of the cabinet members, as an example, listening in.  Just like Lincoln's contemporaries onscreen, we find ourselves quieting down and honing in on his every word.  Together the director and actor have created something special.

They are of course aided by a wonderful script by Tony Kushner that settles on a few short months in Lincoln's life.  Kushner injects quite a bit of both humor and pathos in both the political and personal landscapes. While Day Lewis's Lincoln certainly provides a surprising amount of laughter and dramatic moments in both landscapes, Tommy Lee Jones's Senator Stevens is more than willing throw political jabs at his fellow Democratic opponents especially Senator Fernando Wood (Lee Pace) who is helping lead the charge on the Senate floor against the amendment.  Jones also gets some nice moments of quiet that showcase the actor's strengths.  On the familial front, Sally Field is given two absolutely fantastic scenes -- one in which she "talks smack" to her husband's political friends and another in which she beaks down at the prospect of her son Robert heading into the Army.  Field is fantastic here and in just a few moments she's able to create a well-rounded character with whom we in the audience immediately connect.

The film falters a bit at the end with a rather disappointing final coda tacked on, jumping ahead a few months to the President's final moments including a "gotcha" scene that was actually probably the worst moment I've seen in a good movie this year.  [Knowing what I know about Lincoln's final moments, the "gotcha" moment didn't even work for me which made things even worse.]  There would have been a brilliant place to conclude the film just after Lincoln received word of the amendment's passing as he walks down a set of stairs with lovely light shining into the White House's windows.  Instead, Kushner and Spielberg take it one step too far.  Still, Lincoln is a fantastic look at this important time in our country's history and kudos need to be given to the director, screenwriter, and the entire cast for creating something that even this biopic hater found fascinating.

The RyMickey Rating:  A-

Movie Review - Nine (2009)

Starring Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, and Sophia Loren
Directed by Rob Marshall

As of this writing, Nine (not 9, the other 2009 release with the same title) is a conundrum to me. The more that I think of it (it's been settling in for about four hours now), the more I like it. In fact, I'm beginning to truly appreciate Rob Marshall's take on the Broadway musical which itself is a take on Frederico Fellini's 1963 film 8 1/2 (which, like most Italian cinema, I haven't seen...I'm not remotely familiar with the Broadway musical either). There's something really good here -- I think a huge chunk of the "good" lies in Marshall's direction. Unfortunately, there's some bad here, too, and that lies in the music behind the musical. When the music in your musical is lukewarm, it casts an unfortunate pallor over the whole affair and that seems to be the case here.

Guido Contini (Day-Lewis) is a famous Italian film director in the 1960s. He's in the midst of directing his latest film, the ambitious Italia, when he begins to have a mid-life crisis-type occurrence. The film he's making is somewhat autobiographical -- his take on how great women can affect a great man -- and Guido begins to think back on seven important women in his life (why not nine women? I have not clue). For some reason or another (this is a musical after all), all of these flashbacks occur with the ladies singing a song about their relationship with Guido.

Similar to Marshall's previous big screen musical, Chicago, in which the musical numbers were figments of characters' imaginations, all of the songs in Nine take place in Guido's mind. While this theatrical device works, I must admit that it took me a bit to warm up to the technique, but three songs in or so, I was on the bandwagon with Marshall. It helps that Marshall utilizes a variety of techniques during these flashbacks. While he overuses the quick cut, I appreciated how a few flashbacks were in beautiful black-and-white, really creating that old Italian film look (or that old Italian film look I've seen in clip retrospectives since, as I mentioned above, I'm quite unfamiliar with Italian cinema).

The burden of the film seems to be that the music just isn't all that good. Black-Eyed Peas singer Fergie actually has the most memorable and catchy song by far -- "Be Italian" -- and she performs it with zest. Kate Hudson sings "Cinema Italiano" which was apparently specifically written for the film and this number is also upbeat, whimsical, and enjoyable. I must admit that I never really got the love affair with Penélope Cruz's looks prior to this film, however she was completely sexy and alluring in her song (it's unfortunate that she's burdened with a silly subplot throughout the film). Judi Dench, Sophia Loren, and Nicole Kidman unfortunately come off the worst here, with Loren and Kidman being stuck with the worst songs by far in the flick (both of which come towards the end of the film, bringing the film to a halt after it had been on somewhat of an uptick).

By far, the shining star of the women here is Marion Cotillard. As Guido's wife, she gets to sing two songs, both of which, to me, contain the heart, soul, and emotional center of the film. As she longs for her husband to be faithful, she realizes that she's probably fighting a losing battle. Her "My Husband Makes Movies" was just heartbreaking and she sells it.

Daniel Day-Lewis is perfectly adequate and believable as the man-slut of the film. While I don't really think he learns his lesson in the end, I bought Day-Lewis as this sleazy director. But even though the film's center is his Guido, the film really belongs to the women in his life and Marshall rightly puts the focus on them.

I really think that this is a film that I will grow to appreciate more on repeated viewings. For now, though, I'm going to say Nine's a flawed picture. Rob Marshall certainly moves the episodic film along, but, in the end, it's really just that -- an episodic film that goes from woman to woman in Guido's life, giving each of them a song to sing with several of those songs being lukewarm at the very best.

The RyMickey Rating: C+