EATS &
ENTERTAINMENT
Read previous Eats & Entertainment
columns
January 23, 2008
FILM REVIEW: ‘There
Will Be Blood’
By
Nathaniel Shockey
“There Will Be Blood” just received eight Oscar nominations. But is it
really that good, or is it just another pretentious movie that takes
itself too seriously – a.k.a. the Academy’s favorite sort of movie?
I
guess I’ll just go ahead and be the bearer of happy news. “There Will Be
Blood,” really is that good. It is not what you might consider
pleasurable to watch, but the story is great, and the story-telling is
even better.
For the first 10 or 15 minutes, which feel more like an hour, we’re
stuck in a mine shaft with Daniel Plainview (Daniel-Day Lewis) as he is
mining silver. At one point, Plainview lights a stick of dynamite about
20 feet down the shaft, which he briskly climbs out of via a
shoddy-looking wooden ladder only a few moments before the blast. This
brutal opening sequence, which sees Plainview badly break his leg,
effectively reveals Daniel Plainview as a man with nothing to lose,
willing to risk his life for a chunk of silver. That is, of course,
until he discovers the oil business.
During a drilling session at the beginning of his career as an oilman,
one of his co-workers is killed, leaving behind a baby boy named H.W.
Plainview decides to adopt him. He sanctifies the occasion by rubbing an
oil-drenched finger on the child’s forehead – a fitting baptism for an
adopted son of Plainview.
Before long, the film skips ahead to a town named Little Boston, which
is where most of the movie is set. Plainview and H.W. move to Little
Boston when Paul Sunday, the son of a Little Boston ranch owner, informs
Plainview that his father’s ranch is rich with oil. It is here that H.W.
goes deaf, where Plainview meets his alleged half-brother, and where he
develops a hateful relationship with the local pastor, Eli Sunday. These
are the only three relationships in Plainview’s life with any
mentionable depth, but as we eventually learn, none of them goes as deep
as the oil in Plainview’s heart.
A
drilling accident causes H.W. to lose his hearing, and although
Plainview halfheartedly attempts to suffer his son and his ability, he
sends the boy away before too long. Eventually, the two reunite, but the
relationship never recovers. His final falling-out with his adopted son
occurs in the penultimate scene of the movie. Suffice it to say that
this is one of the more painful movie moments you’ll ever see. The
ugliness of Plainview is finally and appropriately in plain view.
The relationship that dominates the most explosive scenes in the movie
is between Plainview and Sunday. Plainview despises him to the utmost.
He is the portrait of a modern-day Pharisee – a phony prophet,
pretending to be a healer, pretending to be holy – and he receives the
terrifying outpouring of all Plainview’s anger.
Each character’s goal was to expose the other for his treachery. So if
you wanted to psycho-analyze it, you’d probably say that they both hated
themselves and the world around them. Plainview filled his void by
trying to make as much money as possible. Eli’s childhood was obsessed
with being “religious,” according to the local church, and although he
saw the hypocrisy, he could never break from it.
But that’s one of the things that is great about the story. It doesn’t
attempt to explain everything, or fit it into some sort of psychological
box. It never searches Plainview’s childhood, or attempts to apologize
for the way he is. Plainview even says at one point in the movie, “I
don’t like to explain myself.” That’s what makes it believable, and
that’s what makes it to painful to watch.
Suffice it to say that Daniel Day-Lewis was remarkable. His performance
truly was haunting, I watched the movie a week ago and Plainview still
scares me. Day-Lewis gives us humanity at its worst, and at least for
me, the character is painfully accessible. The quiet kid from Little
Miss Sunshine (Paul Dano) plays both Eli and Paul Sunday. Although at
one point I found myself wondering, “Is this character really supposed
to be so eerie and bizarre?” He was incredibly effective.
The music was almost as good as the movie itself. Jonny Greenwood of
Radiohead wrote the score, which was eerie, unpleasant and quite perfect
for the movie. They even used a violin concerto by Johannes Brahms, my
favorite composer.
It
is a damn good movie, certainly one of the best I’ve seen this year, and
easily one of the best performances by an actor I’ve ever seen.
5 out of 5 stars
© 2008 North Star Writers
Group. May not be republished without permission.
Click here to talk to our writers and
editors about this column and others in our discussion forum.
To e-mail feedback about this column,
click here. If you enjoy this writer's
work, please contact your local newspapers editors and ask them to carry
it.
This is Column # EE004.
Request
permission to publish here. |