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
The screenplay for this film was featured in the 2006 Blacklist; a list of the "most liked" unmade scripts of the year. See more »
During the final scene in the bowling alley, Eli pours drinks for himself and Daniel Plainview. Daniel refuses the drink so Eli sets Daniel's drink and an empty glass behind him. As they converse, Eli drinks from his glass until Daniel orders him to stand and say that he is a false prophet. As he stands, Eli takes one last sip of his drink without finishing it and sets it down about a quarter full besides the other two glasses. On the next shot when the glasses are visible over Eli's shoulder, we can see Daniel's untouched drink and two empty glasses whereas Eli's drink was still about a quarter full when he put it down. 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 »
PT Anderson's name already means something, or I should say something else. His self assuredness alone gives me shivers. A modern artist with such clear and severe vision of the world. Boogie Nights, Magnolia, even Punch Drunk Love have an Wellesian disregard for what's in or out. His films are landmarks that may infuriate some, confuse others and mesmerize the rest of us. Here, with the rigorous tale of an impervious oil man, PT Anderson outdoes himself. He has Daniel Day Lewis as his accomplice in a performance that would be as difficult to match as it is difficult to describe. There is a monstrous beauty here that not even a broken nose can disguise. The saga is filled with long silent moments of tension that take place in a cinematic canvas and an actor's head. PT Anderson must have known that this was going to be, not only not a mainstream opus but a hard pill to swallow. I for one stand up to applaud his daringness.
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