A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
The intersecting life stories of Daniel Plainview and Eli Sunday in early twentieth century California presents miner-turned-oilman Daniel Plainview, a driven man who will do whatever it takes to achieve his goals. He works hard but also takes advantage of those around him at their expense if need be. His business partner/son (H.W.) is, in reality, an "acquired" child whose true biological single-parent father (working on one of Daniel's rigs) died in a workplace accident. Daniel is deeply protective of H.W. if only for what H.W. brings to the partnership. Eli Sunday is one in a pair of twins whose family farm Daniel purchases for the major oil deposit located on it. Eli, a local preacher and a self-proclaimed faith healer, wants the money from the sale of the property to finance his own church. The lives of the two competitive men often clash as Daniel pumps oil off the property and tries to acquire all the surrounding land at bargain prices to be able to build a pipeline to the ... Written by
Huggo / edited by statmanjeff
According to a 2007 interview with Paul Dano on the N.P.R. show "Fresh Air with Terry Gross", the scene where Plainview is baptized by Eli (where Eli slaps him several times) was shot the day after the scene in which Plainview threatens to bury Eli (and slaps him around). See more »
After H.W. starts the ceremonial first drilling of the new well, the "walking arm" of this cable-tool rig begins to plunge the bit up and down. The walking arm of a cable-tool rig cannot be used to start a well, as the rigid "tool string" can be forty feet long or more and the derrick tower must be used to drive the bit for about the first sixty feet. Only then can the walking arm be mated to the tool string's cable to continue the bore. See more »
[Daniel has covered his face with a napkin]
So Standard offered us a million dollars for the Little Boston leases, and I told H. M. Tilford where he could shove that, and we made a deal with Union! On the pipeline! And that whole ocean of oil underneath our fields!
[to his tablemates]
... 150,000 dollars...
We needed the money to drill.
I go out to meet him. He's getting oil on the property. We're trying to make a claim on it. Offered him a million dollars. Turned us down flat.
[...] See more »
There are no opening credits, except for the title See more »
Pärt: Fratres for Cello and Piano
Composed by Arvo Pärt (as Arvo Part)
Performed by I Fiamminghi (as I Fiamminghi, The Orchestra of Flanders)
Conducted by Rudolf Werthen
Courtesy of Telarc International Corporation See more »
Remember Those Hollywood Studio Epics? Me Either. But We're Covered.
The year I was born was the same year Predator and Robocop came out. When I was finally old enough to appreciate films, Little Nicky was in theaters. I know, believe me, I know; rocky start. And often I would watch older films, or specials on older films, and be dazzled. You know the ones. Remember when they made Spartacus? Remember sitting in the movies and watching Gregory Peck play Atticus Finch in To Kill A Mockingbird? Remember the first time you heard "I could've been a contender" through theater speakers? Well I sure as hell don't. But I'll tell you what, now I feel somewhat caught up. Let's begin with the obvious. Daniel Day Lewis. No one's arguing about this. The man is a veritable God among ants on the screen. He takes his role by the reigns and I don't doubt him for a second. In fact, at times, I was downright afraid of the man. Lewis gives what is easily, EASILY the best performance of the past five years. But let's get serious about it. Lewis' Daniel Plainview is the most convincing, awe-inspiring, and downright mortifying character to take the big screen that I can remember. Here, perfectly in his element and at his best, Lewis could go toe to toe with Brando and Kinski, playing a part that oozes enough skill and pathos to earn him a place among Hollywood's, and perhaps the world's, greatest performances of all time. He gives those of us who missed out on the craft, depth of character, and technique of classic cinema a chance to admire a tour de force portrayal of a memorable, identifiable, and completely despicable character, and it's so damned refreshing that I can't stop singing the man's praises. Paul Dano has been taking a lot of fire for this whole thing. People continue to spout their disapproval of the film's casting, saying that Dano has no business rivaling the seasoned Lewis on the screen. Listen, lay down your swords a minute and consider the obvious. The guy was cast opposite the performance of the decade, he's not going to outshine Lewis and you'd be crazy to expect him to. In fact, I think that he and Lewis' back-and-forths are the films highlights, as we see the juxtaposition not only in the characters themselves, but also in their acting techniques. And the cinematography? Welcome to the old days of film. The glory days of Hollywood. Anderson gives us one of the most beautifully shot and directed films in recent memory, truly at the top of his craft on this one. Every moment feels more epic than the last, until the film becomes such a towering cinematic spectacle that the end leaves the viewer exhausted. It's truly an experience not to be missed. Yeah, we missed out on A Street Car Named Desire. And Casablanca isn't gonna be in theaters again any time soon. But in the meantime, There Will Be Blood is just about as good, and will likely haunt our generation as much as the Hollywood studio epics of the past...
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