A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.
Paul Thomas Anderson
Philip Seymour Hoffman
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
Daniel Day-Lewis improvised the speech he gives to the citizens of Little Boston, about building schools, bringing bread to the town, etc. Paul Thomas Anderson says of this, "It was delicious. It was Plainview on a platter." See more »
In the bowling alley scene, Eli is clearly visible placing Daniel's refused drink above the central panel on the paneled divider. After the cut-away to Daniel, the drink is not above the central panel, but above the panel adjacent to the central one. See more »
Are you an angry man, Henry?
Are you envious? D'you get envious?
I don't think so. No.
I have a competition in me. I want no one else to succeed. I hate most people.
That part of me is gone. Working and not succeeding- all my, uh... failures has left me, uh... I just don't... care.
Well, if it's in me, it's in you. There are times when I... I look at people and I see nothing worth liking. I want to earn enough money I can get away from everyone.
What will you do about your boy?
[...] 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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