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,
When their relationship turns sour, a couple undergoes a procedure to have each other erased from their memories. But it is only through the process of loss that they discover what they had to begin with.
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
Two traditional Christian hymns are heard during the film, both sung by Eli Sunday's Little Boston congregation. The first is "What a Friend We Have in Jesus," which is heard preceding the scene in which Eli tells Plainview he will bless the oil well. The second is "There is Power in the Blood" which is sung immediately after Plainview's baptism. See more »
While laying the pipeline toward the
ocean, the pipe is being joined so that the female end
flows into the male end. The male end should flow into
the female end. See more »
[Plainview has just left a town meeting]
Mr. Plainview! No! Where are you going?
I don't need the lease, thank you.
We need you, we need you to...
Too much confusion! Thank you for your time.
No, no, no! There's no confusion! If you just...
[stops in his tracks, stares down Prescott]
I wouldn't take the lease if you gave it to me as a gift.
See more »
There are no opening credits, except for the title See more »
This film raises the game for everyone out there. I have loved all of Paul Thomas Anderson's work, including his greatly underrated Punch-Drunk Love, but this is a huge leap from any of the previous movies into a realm, as others have said, inhabited by classics such as Treasure of the Sierra Madre - and then some. Every element of this film is astonishing, from the opening twenty minutes, which feature virtually no dialog, to Jonny Greenwood's score, which I have heard criticized as too imposing but which seems just about perfect to me (and brings to mind the non-Blue Danube elements of 2001 at its most experimental). Daniel Day-Lewis' performance is in a league of its own: his voice, his mannerisms, his physical movement, his stunted emotions, are flesh and blood, and hauntingly so, in a way that even Tommy Lee Jones in In The Valley of Elah (which I thought was a pretty staggering performance) can't quite attain. I will watch this film again and again simply to see something so raw and so moving and so gut-wrenching. This is why I love movies; this is what made me want to make movies when I was fourteen years old.
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