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Influences on each film

wilder · 37 · 7818

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Reply #30 on: January 04, 2018, 08:11:57 PM

From the Globe and Mail interview modage linked:

He's much more comfortable discussing books – stories by Daphne du Maurier, Anya Seton, Shirley Jackson and Charlotte Brontë (at least by way of Robert Stevenson's 1943 film adaptation of Jane Eyre) fed into Phantom Thread's stuffy, sensuous milieu – and movies.

All female writers in this quote, very interesting.

"If I fetishize certain films, it's ones from the 1930s and 40s, getting up into the early 50s, too. Those are the ones that really get me going." Phantom Thread feels indebted to such sources: Lewis Allen, David Lean's smaller-scale dramas, and especially German exile Max Ophüls.

He really loves him some old 30s-50s films, as mentioned earlier:
I don’t fetishize ’70s movies the way some people do. I love them, but my models are those ’30s films, and I’m always trying to emulate that.

Another non-specific mention of Turner Classic Movies in this video. Possibly the most consistent influence on him since at least The Master. Mentioned in several interviews that it's always on in the background for him.


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Reply #31 on: January 04, 2018, 08:26:34 PM
(for the sake of annotating)

Mark Bridges mentions he was shown Maytime in Mayfair (1949) in the longer version of the video interview above.


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Reply #32 on: January 05, 2018, 01:43:10 PM
Unclear if Lewis Allen is an actual influence or just the interviewer’s suggestion. Putting The Uninvited (1944) with a question mark.

I was going back and forth about this, but I'm currently thinking that PTA probably actually talked about Lewis Allen, as he's mentioned all of the other influences noted in that sentence. I might be wrong, though.

Thanks for sharing this.


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Reply #33 on: January 05, 2018, 05:30:20 PM
Most likely the case. I'll just put them. No one ever had a worse life for watching more Ophüls and Lean.


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Reply #34 on: January 09, 2018, 03:17:26 PM
Conscious influence or not, the film that feels most similar to Phantom Thread to me is Joseph Losey's The Servant (1963). It's mentioned in this Guardian review, but in general hasn't been bandied about as much. Losey's thematic interests very much align.

From Senses of Cinema's profile:

The dominant themes of Losey’s eclectic work are emotional instability, emotional and physical violence and perverse sexual power plays. There is not one conventional love story in his films. He has a mania for settings that express states of mind, and his camera movements are always abnormally sensitive and skittish. He has been attacked as a case of style over substance, but this misses the point. If Losey had been a writer his deficiencies would make him a minor figure, but he was from first to last a film director, and, at least for directors who don’t write their own material, style is substance.

At the very least it'd make a great double feature...


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Reply #35 on: July 21, 2018, 02:06:24 AM
Question mark. But whoa.

aka Paris Thrills (1945)

Philippe Clarence, a famous Parisian dressmaker, seduces his friend’s fiancee. But, for the 1st time in his life, this is for real. The film is also a sharp picture of the fashion world.

Quote from: CriterionForum user sensebove
July 20, 2018

Just saw Jacques Becker's absolutely wonderful Falbalas—did Anderson actually acknowledge it as an influence anywhere?

Because I find it hard to believe he didn't see it... There are too many things that seem to be lifted: a fussy, capricious, and wantonly cruel couturier whose House is managed by his only living relative, a matronly older sister; a breakfast scene where the obsequious former lover who has fallen out of favor storms off when he rejects her overt attempts to cater to him; and some banter between the designer and a model which starts with his seemingly derisive comment on her breast size and ends with him telling her its none of her business (implying what PT makes explicit: it's his to make her have some if he wants her to). I may have gone into it looking for them—but put together they all seem a bit much to be coincidental.

Quote from: Letterboxd user rischka
May 30, 2016

an early becker effort set in the world of haute couture. raymond rouleau stars as a womanizing diva designer who employs an army of seamstresses to produce his creations, each season inspired by a new muse. his latest discovery is betrothed to a dear friend, a girl who's too naive to see his seductions shouldn't be taken seriously. that is, until she's no longer available to him, when he suddenly decides to chuck everything and run away with her, not caring who may be hurt in the process. while i don't totally buy the ending, raymond rouleau is terrific here, becker has a deft hand with the witty dialogues and frantic pace and a great eye for interesting character traits. he still hasn't let me down. plus the wonderful paris 40s fashions esp amazing hats!!

Quote from: Letterboxd user Connor Denney
July 16, 2017

Flippant playboyism descends into the psychosexual when that required component of physical relationships, the self-gratification awarded by absolute power over romantic partners, is not awarded. We see the effects that objectification of women can have when the "objects" begin to turn on their "master," and the response feels as truthful as it does striking and surprising.


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Reply #36 on: October 25, 2018, 04:31:32 PM
I saw quiz show a while ago, which felt like a movie pta would enjoy, but I don't recall him mention it? "films that was never mentioned, but that he probably enjoys" is a thread idea, I guess.