PHANTOM THREAD (2017) (PTA x DDL)

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby defective » Sat Jan 13, 2018 1:19 pm

saw this in 70mm the other night and absolutely loved it. was taken with it from the start and it didn't disappoint all the way through to the end.

i think b/c it's coming out so late in the game it's being left out of the larger conversation. for me it's easily the best film of the year. can't wait to see it again.
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Postby ratbags » Sat Jan 13, 2018 1:21 pm

Also it was nice not to watch a film that wasn't just about a toxic relationship getting more toxic
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Postby galactagogue » Sat Jan 13, 2018 4:56 pm

bunejug wrote:this was really well executed, with a lush ambiance and fleshed out characters and arcs. I found it gorgeous, but can't say I was moved. it was completely devoid of risk, which is disappointing for a PTA film. didn't grab a booklet because it was a congested fire hazard entering/exiting the theater.



i feel really similarly! it’s by no means a bad movie, but it felt like PTA takin it ez. Ive seen it twice now, once in 70mm (tho i think the projectionist fucked up the focus..) and i have to say the second time really drove home the general unremarkable feeling i had in the end. And the craziest part about saying that is that there are so many obvious things to enoy about the movie but it didn’t give me that satisfaction or thrill that his movies usually do. I think something about the austerity of it all was somehow dampening or overpowering and not made fun of enough or something ???

anyways im always out of sync w the board opinion on movies so
...ive said too much
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Postby Buzz Fledderjohn » Sat Jan 13, 2018 5:01 pm

forest design wrote:Don’t understand how this isn’t right at the top of every end of the year list. This and Twin Peaks make almost everything else I saw from 2017 seem like a trifle.


preach
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Postby quilty » Sat Jan 13, 2018 5:06 pm

someguy wrote:gonna get yelled at for having this opinion but whatever, just surprised at how euphoric the reactions are for something pretty straightforward

for me this movie completes a trilogy with there will be blood and the master. the progression is such that in each movie, where the canvas gets smaller and smaller, and the dynamics of the central relationship become more and more claustrophobic. plainview eyeing eli from across the desert camp; dodd and freddie at the table during processing; finally, reynolds measuring alma's bust size. not so neat and tidy a progression but you might see what i mean. the ending to me is so impressive because it shows that there's room for optimism in the project of intimacy in PTA's projectToggle Spoiler--even if the 'final word' is not conclusive for the entire trilogy.

and that goes for everything else about the movie. what you're calling straightforward i saw as effortless. i don't take for granted that everything unfolds so gracefully, with such subtle power. people are pointing out individual scenes, and the score my god. all of that i agree with. what i love about this trilogy--and what i think was missing from inherent vice (along with other things that i know i'm in the minority on) is PTA's montage. he has a way of drawing out the pieces of a montage just long enough that, when we think we're in the fixed narrative space of a dramatic scene, boom, cut, off again into another breathtaking shot, a word, an image, a wrinkle to complicate ever so slightly our sense of what has come before

so i was missing that in inherent vice. there's an argument that it was there and i'm overlooking it, but i had other problems with it that cloud my recollections and my enjoyment. but here it's more intense arguably than even (bite my tongue) in the master. and so recognizing the continuity of that element in particular gave me the feeling that i was watching the culmination of something complex and profound and just very fucking adult which is in short supply these days
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Postby ripersnifle » Sat Jan 13, 2018 5:58 pm

so, i've basically spent all day reading various things about this.
rly like this description from the Artforum review:
Beyond the dazzling performances of Daniel Day-Lewis, Vicky Krieps, and Lesley Manville; the swooping and/or oddly angled luminous 35-mm cinematography by Anderson himself; and the almost omnipresent orchestral score by Jonny Greenwood, which suggests Nelson Riddle on ecstasy, the movie’s uniqueness is its fluidly shifting tone, as if the ghosts of genres as diverse as gothic mysteries (Hitchcock’s Rebecca), screwball comedies (Hawks’s Bringing Up Baby), perverse, obsessional romances (Kubrick’s Lolita), and Angela Carter’s feminist inversions of classic fairy tales were dancing at the edge of the collective consciousness of everyone involved, including the viewer.
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Postby kirito » Sat Jan 13, 2018 7:25 pm

ratbags wrote:Also it was nice not to watch a film that wasn't just about a toxic relationship getting more toxic

on the other hand i read the ending as the ultimate form of codependency basicallyToggle Spoiler
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Postby quilty » Sat Jan 13, 2018 7:59 pm

love is a curse bb
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Postby defective » Sat Jan 13, 2018 10:52 pm

not sure if this is a spoiler but... i love that the movie is ultimately about HER. especially when you consider it's a DDL movie (his last!). she essentially narrates it and she essentially wins the staring contest in the end.Toggle Spoiler fucking great.
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Postby powderfinger » Sun Jan 14, 2018 12:43 am

how many times did you guys listen to the soundtrack today

I'm at four. Basically spent half of a five hour flight today listening to it and staring out the window about thinking about how goddamned good this movie is. I'm on vacation but I'm largely thinking about whether I'll be able to catch this again in 70mm when I get back.
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Postby forest design » Sun Jan 14, 2018 2:18 am

This is difficult for me to express well. I promise that it isn’t an anti-intellectual screed, if it reads that way. For my money, what makes PTA such a special and rare talent is his ability, his skill in making me fall into a world and fall in love with it and fall in love in it. It’s not how he writes it (though in a way it is). It’s not the ideas he explores that I find most remarkable about him as a filmmaker. It’s the fact that he allows you to live inside the piece, within the world. He does this through his photography and through his movement and the way in which he writes space into the scene, but mostly I think it’s in that he sets up something and allows it to grow, wants it to grow, and films it growing. I don’t think it’s any coincidence he works with actors famous for disappearing into their roles.

I’m not studied enough in filmmaking as a craft or even theory to give much weight to these claims, but I know that watching his films, scenes that aren’t written so much as directed, if that makes any sense, and performed by masters given the room to themselves create provokes a different set of feelings in me than most other movies. This movie is really and precisely scripted, but it’s delivered and filmed by master crafts(wo)men. That makes a lot of difference. It’s not just a good script or good cinematography or even just good acting. As someone said upthread, it’s more than the sum of its parts. I feel similarly about Lynch and Kubrick and Malick and Bergman and Dreyer and...not all that very many others.

Having said that, I’m eager for more people to see this and parse our the nuances because I do think there was a lot there to dissect and I enjoy the reading the ‘philes takes
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Postby ratbags » Sun Jan 14, 2018 2:33 am

Vicky Krieps is a big reason this is so beautiful
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Postby quilty » Sun Jan 14, 2018 2:51 am

forest design i think what you're basically describing is what makes cinema (as the 'philes call it) something more than just photographing painterly images or well-executed theater. it's why filmmakers of that stripe are frequently also philosophers and theologians at some level, because to generate the kind of space-time you're talking about, you need to have a worldview that needs realizing
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Postby ratbags » Sun Jan 14, 2018 2:52 am

Something worth looking at
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Postby forest design » Sun Jan 14, 2018 3:00 am

quilty wrote:forest design i think what you're basically describing is what makes cinema (as the 'philes call it) something more than just photographing painterly images or well-executed theater. it's why filmmakers of that stripe are frequently also philosophers and theologians at some level, because to generate the kind of space-time you're talking about, you need to have a worldview that needs realizing



Yeah, I think that’s exaxtly right
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Postby quaker city » Sun Jan 14, 2018 11:12 am


Really liked this review
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Postby delgriffith » Sun Jan 14, 2018 11:59 am

Yeah that's excellent. I also enjoyed this, don't recall if it was posted: https://www.filmcomment.com/article/paul-thomas-anderson-phantom-thread-love-after-a-fashion/
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Postby ripersnifle » Sun Jan 14, 2018 12:13 pm

going again on Tuesday, just decided.
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Postby defective » Sun Jan 14, 2018 12:57 pm

yeah i'm going again wednesday.
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Postby Celiac Cruz » Sun Jan 14, 2018 1:51 pm

Still not over the sight of DDL in that Aran-type sweater with the classic Irish granddad hat sketching on the mountainToggle Spoiler

Also, this is absolutely Vicky's movie and she is such a delight in every sense
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Postby ripersnifle » Sun Jan 14, 2018 1:54 pm

Celiac Cruz wrote:Still not over the sight of DDL in that Aran-type sweater with the classic Irish granddad hat sketching on the mountainToggle Spoiler
hell yea
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby ratbags » Sun Jan 14, 2018 1:57 pm

yeah the honeymoonToggle Spoiler was beautifully shot. i get the sense there's more unused scenes from it from what i've seen in TV teasers since the release. i'm going again tonight and i can't fucking wait.
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Postby delgriffith » Sun Jan 14, 2018 2:21 pm

What a beautiful movie.
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Postby forest design » Sun Jan 14, 2018 2:40 pm

Mentioned it upthread, but that quotation from Greenwood talking about touchstones for his compositions lead me to listen to Ben Webster’s Music For Loving for the first time in a few years and it’s really magical. Folks who’ve been enjoying the score, check it out.

Image
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Postby husbands » Sun Jan 14, 2018 3:19 pm

this is 10x as good as there will be blood, and almost as good as inherent vice
ROLL COAL
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Postby tgk » Sun Jan 14, 2018 11:52 pm

ratbags wrote:Also it was nice not to watch a film that wasn't just about a toxic relationship getting more toxic


This was literally a toxic relationship that got more toxic
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Postby ratbags » Mon Jan 15, 2018 1:36 am

I found it romantic tho lol
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Postby ratbags » Mon Jan 15, 2018 1:36 am

Second time was sick
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Postby forest design » Mon Jan 15, 2018 1:42 am

Hm, not quite sure I’d argue it was healthy, but I think it was kinda partly the point that it wasn’t as toxic as it may have seemed. Or maybe just as a close look at what most would reduce and dismiss as this or that simple theme and in so doing revealing a terrifically complicated state of affairs. Which is sorta his MO, as much as people like to reduce him to making movies about guys with daddy issues.

I mean, similarly you could describe almost all of Michael Mann’s films wirh one or two generic sentences. He tells virtually the same story in each one when you get reductive about it. And all of them could be said to treat of one or two simple themes. But I find his films to be really rich.
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Postby sliiimer » Mon Jan 15, 2018 11:59 am

edited: not a great top of page post.

Loved this.

I encourage anyone who hasn't seen it to avoid reviews--there's a mainstream review released today that includes a pretty heavy "spoiler."
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