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
The film was originally given a 12A rating in the U.K. for cinema exhibition, meaning that children of any age could see it, with adult supervision if they were younger than twelve years. In a curious move, the distributors subsequently appealed to the British Board of Film Classification to consider raising the certificate. The B.B.F.C. agreed, and the film was subsequently uprated to a more restrictive 15, preventing those younger than fifteen years from being admitted to screenings regardless of parental supervision. 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 »
There's that house in Fond Du Lac that, uh, John Hollister built. Do you remember it?
I thought as a boy that was the most beautiful house I'd ever seen, and I wanted it. I wanted to live in it, and eat in it, and clean it... And even as a boy, I wanted to have children to run around in it.
You can have anything you like now, Daniel, and you should. Where are you gonna build it?
Here, maybe. Near the ocean.
Would you make it look like that house?
I think if I saw that house now, it'd make me ...
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There are no opening credits, except for the title See more »
A blood-soaked, oil-sopping epic that'll delight many, dissatisfy others
"I'm an oil man!" Asserts Daniel Plainview (Daniel Day-Lewis) to a colony of naïve citizens of which he is astutely slipping into his trouser pocket one by one. However (in this case) the man speaks no lie for his veins do indeed run rich with plutonium oil. A crude, black substance embedded deep in the merciless heart of director Paul Thomas Anderson's gargantuan North American epic- There Will Be Blood. A perpetually steady, emotionally-draining and dark character study of an oil guzzling tycoon that vigorously chews on the themes of gluttony and deception, faith and ambition, death and revulsion. Do not be mislead by its title, though. This is not some balls-to-the-wall slasher-flick (as the "chavs" sat behind me seemed to think at the outset). It is a gruelling, drawn-out dissection of a loathsome yet sinisterly-comical individual consumed and maddened by his own persona. And it's absolutely formidable- visual and melodramatic arrestment at its bona fide best that exudes cinematic precision and awe with satire to spare. But it's also a long-winded affair. So thrill seeking, gore-craving moviegoers walk away, now. I'm afraid there will be no blood for you. Sorry. Add to that list- chic-flick, rom-com and sci-fi enthusiasts. You guys may be better off buying another ticket. Taking another ride. Those left, steady yourself for, perhaps, this year's most thought-provoking feature driven by a leading character performance fit to rival the very best.
Ushering in a near dialogue-free opening 15 minutes with a distinct fade-in, Anderson wastes no time in introducing us to the protagonist. Daniel Day-Lewis plays no scratch that Daniel Day-Lewis is Daniel Plainview. An ambitious, moustached miner who, while thrashing away at the crust of his motherland- at the turn of the twentieth century- strikes oil. A profitable discovery that fortuitously leads him to H.W (Dillon Freasier), a new-born infant of whom he slots forcefully under his oil sodden wing only to drag about the entire continent in search of large segments of land in which crude oil is stirring directly beneath. Soon enough, Plainview forges a blossoming "family" oil drilling corporation that soon establishes itself as a force in the industry and prospects appear even brighter when, in 1911, Plainview receives a generously eerie, yet pricey tip-off as to where there may be a sturdy supply of his beloved oil. A tip-off in which he pursues like a unwavering moth to an oil fuelled flame as he meanders ominously into Little Boston, California where the true colours of the indomitable oil baron edge disturbingly into light.
Daniel Plainview is an angry, vengeful man whose promises and loyalties to those around him are as false and as futile as his love and respect for God. He "guarantees" the people of the Little Boston ranch; food, water, schools and, to the town's radically odd preacher Eli Sunday (an inspired Paul Dano), a newly renovated church of the Third Revelation. But he cares little for the reserving of his pledges and spends little time guilt-tripping over his numerous acts of iniquity. "I look at people," he says "and I see nothing worth liking." "I have a competition in me," he continues "and I want no one else to succeed". Self-centred sociopath? Yep, for Plainview is as putrid and as predatory as any character to ever grace the big screen. He putrefies slowly, though. The end product appearing more entity than man. Better yet: an egocentric emblem of evil that governs the screen in an implausible manner in which only an actor of Day-Lewis' calibre can. The sheer potency of his flawless portrayal actually carries the relatively toothless narrative in areas which could be further criticised for chugging along at a near crawling pace at times.
Visually and acoustically, though, TWBB is outstanding- every nuance of every aural and cinematic component work so well with one another to help give the film such power and impact. It's just a shame that no real direction or purpose bled into the screenplay for which Anderson adapted from Upton Sinclair's 1927 novel- Oil. As far as storytelling goes, Anderson has underperformed here. His narrative lacks any legitimate path or hooks and, to be honest, the lack of defining moments- bar the infamous confession and milkshake scenes- within 158 minute running length is a little disappointing. But the manner in which Day-Lewis dictates the audiences' attention more or less vanquishes any negative thoughts regarding the muscle of the plot. Which is why it comes as no surprise that everybody and their brother have duly commended the London-born method actor's impeccable, Oscar winning performance: the epitome of everything grand about Anderson's fifth but not quite finest feature yet; profound, provoking, intense, immense.
In spite of its flaws, TWBB is still an exceptionally powerful piece of cinema that'll remain etched in the minds of those who take to it for quite some time. Even if it's quality is not there for all to see, in plain view.
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