The story of the assassination of U.S. Senator Robert F. Kennedy who was shot in the early morning hours of June 5, 1968 in the Ambassador Hotel in Los Angeles, and 22 people in the hotel whose lives were never the same.
In April 1994, after the airplane of the Hutu President of Rwanda is shot down, the Hutu militias slaughter the Tutsi population. In the Ecole Technique Officielle, the Catholic priest ... See full summary »
The intersecting life stories of Daniel Plainview and Eli Sunday in early twentieth century California is presented. Miner turn oilman Daniel Plainview is a driven man who will do whatever it takes to achieve his goals. He works hard but he also takes advantage of those around him at their expense if need be. His business partner is his son H.W., who in reality he "acquired" when H.W.'s biological single father, who worked on one of Daniel's rigs, got killed 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, the 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 ... Written by
In the "bastard from a basket" scene, H.W. and the interpreter leave after the latter says "I thank God I have none of you in me". It is clear by his lip movement that what the actor originally said was "none of me in you." See more »
I'm going to argue against celebrating this movie.
It isn't because it is not effective. It is. It is extremely honed so that every horse is hitched to the same plow, so that power is achieved.
It isn't because we don't marvel at the actorly gymnastics of Day Lewis. Its because it doesn't matter. I will truly forget this film in the sense that none of it will change me, indirectly lead me somewhere or trick me into some discovery. In preparation for this, I saw "Siberiade," another oildrilling epic where kinship is central and the drive to the earth is a retreat.
(The "blood" in the title is associated with family, not weeping veins.)
Elements of that Soviet film will stick with me forever, though the film has less explosive emotion. (It does have a far more dramatic oilrig fire real instead of from ILM. And it has teasingly seductive songs, not the edgy, spineraising tension of here.)
The one element that should have grabbed me was undeveloped. Here is a man who we see is broken. There are no events to follow. He becomes a success and remains broken. The only story for us to seek is why. We know he had peculiar feelings for his sister and left home traumatically. That he prefers isolation of the most remote kind. That given any opening for bond, for blood: HW, the discovered brother, the child Mary, he will grab it with both hands and look for disappointment.
We know going in that the business of twins appeared only late, but it could have been central to this mystery of sucking and discarding both blood and oil. I really thought Anderson would exploit this ambiguity of identity. After all, he's made one and a half of the very best films which explores this. Films that are multilayered and reach out and penetrate instead of a barrelling locomotive.
I would ask you to differentiate. First differentiate rubbernecking over a disaster from exploring and knowing a dangerous situation. Second, differentiate masterful storytelling from stories that have their own lives and catch fire in your heart.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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