Author Topic: Phantom Thread - Critic's Reviews  (Read 1717 times)

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wilberfan

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Re: Phantom Thread - Critic's Reviews
« Reply #15 on: December 23, 2017, 07:54:49 PM »
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A different perspective:  The New York Times Fashion Critic on Phantom Thread

"The Daniel Day-Lewis Version of Fantasy Fashion Diva"

https://www.nytimes.com/2017/12/23/fashion/daniel-day-lewis-phantom-thread-myth-of-the-designer.html

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“The Devil Wears Prada” and “Funny Face” aside, fashion has traditionally played better in documentaries than in feature films. (Remember Robert Altman’s “Prêt-à-Porter” or Ben Stiller’s “Zoolander 2”?) In part that’s because the temptation to turn its characters into caricatures of caricatures rarely ends well. So all of these accolades got my golden thimble tingling, especially because Mr. Day-Lewis is famous for actually learning to do what his characters do (and you can see all the needle pricks on his thumbs).

Had Mr. Day-Lewis and Mr. Anderson managed to succeed where so many others had failed? Had they created a realistic portrait of a designer for posterity?

Nope. They mythologized an old one. There’s no better perspective on how far we’ve come than seeing a once-upon-a-time stereotype, even one as compellingly watchable as Mr. Day-Lewis as Reynolds Woodcock (what a name), looming many feet high on the big screen.

He may be a designer, but he’s the designer as tortured genius, a man whose idiosyncrasies and unreasonable behavior are enabled and tolerated in the service of his art. It’s an old and favored trope in fashion, once cultivated by many. But while that version of the aesthetic auteur may still be revered in other realms, from Hollywood to SoHo, it has actually fallen out of favor in fashion. Or perhaps more pointedly, we’ve stopped falling for it.
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Drenk

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Re: Phantom Thread - Critic's Reviews
« Reply #16 on: December 23, 2017, 08:02:54 PM »
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I haven't seen the movie but it doesn't matter if that type of person is current/was current in fashion or not.
I'm so many people.

eward

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Re: Phantom Thread - Critic's Reviews
« Reply #17 on: January 11, 2018, 07:55:45 PM »
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Bret Easton Ellis chiming in with some high praise for Phantom Thread (exciting for me because he's been a bit ambivalent about PTA's last few releases)

http://www.talkhouse.com/the-2017-talkies-talkhouse-film-contributors-top-films-of-the-year/
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jenkins

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Re: Phantom Thread - Critic's Reviews
« Reply #18 on: January 11, 2018, 09:09:57 PM »
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Quote
2. Phantom Thread 162 points
“Phantom Thread is not only a ravishing piece of pure cinema but it’s one of the best movies I’ve seen about an artist and his process: the control freakery, the seduction, the manipulation, the inspiration, the depression. It’s a movie primarily concerned with atmosphere and character, casting a spell without narrative contrivance and without (finally!) Daniel Day-Lewis devouring the movie he’s starring in and allowing Vicky Krieps (the find of the year) and Lesley Manville their space. The movie is funny and suspenseful but it ends up, for some, in a remote and perverse place, and though I bought the idea and I bought the execution I still felt a little disconnected from it on a first viewing–but it doesn’t matter: this is the most gorgeous movie I saw in 2017. I’ve drifted away from PTA in the last two decades but Phantom Thread is a jolting reminder that he’s one of the last great auteurs working on a grand scale in mainstream American film.” (Bret Easton Ellis)
Image by Jack Dunphy and John Cibula

oh but IV was entirely concerned with atmosphere and character and cast its spell without narrative contrivance. entirely. i think it was BEE's own problem that he'd forgotten and needed reminded. i have no idea what kind of movies BEE likes but i know he's a shittalker and it's always good to be on a shittalker's side. again i think part of what's happening is people walked away and they're excited to turn back.

KJ

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Re: Phantom Thread - Critic's Reviews
« Reply #19 on: Yesterday at 12:53:58 PM »
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Pitchfork review of the soundtrack (7.5)

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Since the start of his career, the director Paul Thomas Anderson has exhibited an acute sense of how music can shape a film’s narrative—how cues and leitmotifs come to define not just individual scenes but the entire world being built from scratch. (The Gen-X angst of Magnolia would not be the same without Aimee Mann’s ballads, for example.) Since 2007’s There Will Be Blood, Radiohead’s Jonny Greenwood has composed the music for each of Anderson's films. The collaboration between the two has only strengthened the distinctiveness of Anderson’s work: The frantic string compositions of There Will Be Blood and the stoner-rock grooves of Inherent Vice are essential to those viewing experiences. On Anderson’s latest feature film, Phantom Thread, Greenwood’s music appears across the majority of the film’s 130-minute runtime, elevating the director-composer partnership to a new level.

Set in mid-1950s London, in a world of high fashion and faded glamour, Phantom Thread is among Anderson’s most luxurious and romantic period pieces. It follows a tumultuous courtship between the renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and a waitress and model named Alma Elsen (Vicky Krieps). Greenwood’s compositions are as lavish and lush as the film’s old-world beauty: Aided by a 60-piece orchestra, the scope of the score far exceeds his previous work for film.

Working with such an opulent backing band allows Greenwood to craft truly ornate pieces. He has said that a principal reference point was Glenn Gould’s Bach recordings—the kind of cerebral, minimalist, and “obsessive” baroque music that would fit with the film’s hifalutin mood. But there are also touches of popular jazz and big, bodacious string recordings (inspired by Ben Webster) in the background of the score, to give the film’s setting its appropriately grand feel. The resulting songs are intense and almost comically rich—the sonic equivalent of a caviar and foie gras sandwich. ( :shock: )

 

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