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
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
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
The climactic sequence takes place in 1927 according to the onscreen title. When the preacher refers to not being informed of the recent economic downturn by God, he is referring to the Crash of October 1929. See more »
HW's Interpreter, George:
[speaking for deaf H.W]
I'd prefer to speak to you in private.
You can't speak. so why don't you flap your hands about and have what's-his-name tell me where you've been. Or do you think I don't know?
HW's Interpreter, George:
This is hard for me to say. I'll tell you first: I love you very much. I've learned to love what I do because of you. I'm leaving here. I'm going to Mexico. I'm taking Mary, and I'm going to Mexico. I miss working outside. I miss the fields. It'll only be for a time, for me to do my own drilling ...
[...] 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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