There Will Be Blood

This movie is as good as it gets in modern moviemaking. Daniel Day-Lewis, our greatest living actor, adds his greatest character portrayal yet to a seemingly unlimited range of characters past. He plays Daniel Plainview an oil wildcatter during the age of the post-Reconstruction "Robber Barons." Not all of the Robber Barons were financial wizards like Jay Gould or conniving accounting monopolists like John D. Rockefeller, unethically stealing the profits of the hard working entrepreneurs who made the great oil and mineral discoveries of the time. Daniel represents the driven, rugged individualist who resisted and defeated Rockefeller and the railroads' attempts to reap the fortune of his almost literally back-breaking efforts. But in his quest, struggle and ultimate financial success Plainview pays a heavy price. The brutal, ruthless life he leads to attain his ambition for wealth leaves him resembling more a denizen of nature than a resident of the human race. Whether he lost his soul in his childhood, in his quest, or never had one in the first place, is for the viewer to decide. The scene with his "brother", Henry, is truly chilling when Daniel first reveals his brutal, misanthropic nature. Only Daniel Day-Lewis could deliver such blood curdling dialogue in that scene; slowly, in a philosophical manner explaining to Henry his hateful feelings toward all others with a fatalistic smile on his face. He is a man comfortable in a skin in which many others would not be. Kevin J. O'Connor's portrayal of Henry is outstanding as a desperate soul who never betrays Daniel, and is as loyal as a brother, but dies at Daniel's hand. Daniel, as is shown throughout the movie, has a very perverse view of family and loyalty. The development of his relationship with his adoptive son, H.W., is the clearest view into Daniel's character and ultimately renders the final verdict on Daniel's lifelong quest for wealth. Daniel's hardened and embittered nature is never shown more pointedly, and brutally, than in his final scene with H.W. ("a [...]in a basket!"). It is the savagely destructive psychological counterpart to the physical destruction Daniel wreaks in the final scene with Eli Sunday, the "false prophet". Paul Dano as Eli Sunday, the greedy charismatic preacher, has received many accolades for his performance. It is good, though not as good as O'Connor's "Henry" or the young H.W. (Dillon Freasier). The main problem is not so much Dano's performance as his character's physical appearance. Day-Lewis ages slowly but markedly through the thirty-five year period of the movie. Dano, however, looks exactly the same age in the final confrontation in the bowling alley as he does when he first encounters Daniel at Eli's family dinner table. There is also a scene later in the movie, some time after the scene at the family dinner table, in which Daniel beats and humiliates Eli in front of others. It is almost a cinematic non-sequitur since the tension and rivalry between the two has not built to the point to justify the scene. Regardless, those two items of criticism are slight in the context of a truly great movie. The cinematography and the musical score lend greatly to its dark atmospherics. It is encouraging to see that it was written and directed by Paul Thomas Anderson whose previous undistinguished work includes the voyeuristically juvenile "Boogie Nights" and the embarrassing attempt at romantic comedy, "Punch Drunk Love". It does shows that an artist can grow beyond the exploitative and immature sides of Hollywood cinema as he matures. It undoubtedly helped Thomas to have Daniel Day-Lewis as the star, rather than an Adam Sandler. This is Day-Lewis's movie and he is the best. I have used the word "brutal" on a number of occasions in this review. The era of the Robber Barons was just that. This movie effectively conveys the history you may read about the era and the unforgiving state of nature that produced men like Daniel Plainview. As has been mentioned by other reviewers, the Plainview character is "loosely" based on a character named Vern Roscoe in the novel "Oil," written by Upton Sinclair. Sinclair's fictional character, in turn, was "loosely" based on a real person, named Edward L. Doheny. He is profiled in Wikipedia if you would like more information about him. All such "loose" associations are irrelevant in a great movie. Anderson and Daniel Day-Lewis have produced a cinematic masterpiece. It will be considered a classic in due time because of the timelessness of its theme and the greatness of its performances. I'm finished.

I bought Fargo and this at the same time a couple of weeks ago, on-sale on Amazon. When they got here, I had planned to watch them back to back but I only had time for 1 so I picked Fargo. Partly instinctively (I mean who doesn't love Fargo) and partly cuz it was a gray blustery day outside and Fargo seemed to fit. I thought about it later and I was glad I waited on There Will Be Blood because it's in that category of movie that deserves a certain amount of respect and willingness to gleefully endure an epic because the payoff is so good. Dances With Wolves, Gone With The Wind, Cat On A Hot Tin Roof... You know movies that are best in 1 long sitting with no distractions and preferably alone. Movies like Fargo and Pulp Fiction can be watched in a group or just certain scenes with your pals, and that's great. I mean who doesn't have lines from both of those movies memorized and you say them to a friend... who also love the movie and laughs and says his "Honey Bunny" line back to ya. But, movies like this one, get in your head with their slow unwind and great storytelling and they move you through every human emotion without you even realizing they have done it. Acting plays a huge part in this movie cuz neither of the leads could have been played by anyone else. He makes you want to BE an Oil Man... or at least invest in his wells, and the Preacher, Hell, I wanna slap him too. This is prolly the 5th or 6th time for me watching and the first time since I have owned it. It's Thanksgiving night, all the family is gone, I am full and peaceful and content, a lil buzzed and alone with the surround sound turned way up and the lights off. This movie is perfect for tonight. A+

Awesome film, one of DD-L's best. The final scene alone is worth the cost - when our "hero" bludgeons the scumbag (played by Paul Dano) to death with a bowling pin... Oh, and just prior to that is the "milkshake" scene... It's just too good. Hollywood is completely incapable of making movies like this today.

Fantastic, एपिक movie, Danielle de Luis as usual is great

Wahnsinnig betörende, faszinierende aber auch ganz dreckige Kinobilder, die so nachhaltig wirken dürften, wie die unvergessenen Bilder in Malicks "Glut des Südens" : Der Oscarprämierte Kameramann Robert Elswitt zeigt dem Zuschauer ein noch unerschlossenes, weites und erhabenes Land nach dem Sieg gegen die Ureinwohner: Trockene Öde, steinige Prärie, herbstliche Wälder. Die zweite Teil der Eroberung wird eingeleitet. Inmitten dieser wunderbaren, teils sehr spröden Landschaft agiert der Ölmann Daniel Plainview (Daniel Day Lewis). Reiner Zufall, denn er hat 1898 nach Silber gegraben und stösst überraschend auf Öl. Er kann Geld damit machen und betätigt sich fortan mit seinem kleinen Sohn (Dillon Freasier) als kleines Familienunternehmen in Sachen Ölbohrungen. Als ein Farmerjunge ihm von einer noch unerschlossenen Ölquelle im Hinterland der USA berichtet, kauft er Grundstück um Gründstück zu Spottpreisen von den vielen armen und extrem religiösen Farmerfamilien auf und beginnt mit den Bohrungen. Dies wird der Sprung vom Unternehmen zum Grosskapitalisten....mit allen Begleiterscheinungen. Paul Thomas Andersons oscarprämierter Film ist eine gallige und morbide Abhandlung über diese erstrebenswerten Ziele des Menschen, Reichtum und Macht, der die Menschen auf diesem Weg dorthin natürlich verändert und sie gierig werden lässt. Demgegenüber stellt er den um 1900 bis heute ständig erstarkten christlichen Fundamentalismus im Land der unbegrenzten Möglichkeiten mit einem jungen, charsmatischen Prediger, Eli Sunday (Paul Franklin Dano, bekannt aus Little Miss Sunshine), der sich vom unscheinbaren, gottesfürchtigen Farmerjungen zum bigotten, demagogischen Hassprediger ebenso wie Plainview wandelt. Der Film spukt auf die Verklärung der Gründerjahre und lässt diese zwei amerikanischen Werte "Money and God" aufeinanderprallen, führt sie in Kombination als verlogene und unglückmachende Zweckgemeinschaft vor. Durch die heutigen Ereignisse um Öl, Terror, Wirtschaftskrisen, Börsencrash und dem Fehlen von wahrhaftigen moralischen Instanzen ein hochaktuelles und spannendes Thema. Andersons Film zeigt uns die Anfänge des Kapitalismus ab 1900. Als die Bodenschätze gierig erschlossen wurden und der Grundstein gelegt wurde, dass die USA zur grössten und reichsten Weltmacht mit "Gottes Segen" werden konnte. Einer der grossen Filme des Jahres, in der epischen und suggestiven Machart ein bisschen mit "die Ermordung des Jesse James" verwandt - lediglich einen Tick näher am Puls der Zeit. Nach "Last Exit Reno", "Boogie Nights" und "Magnolia" ein weiteres, grandioses Kino des jetzt schon legendären Directors. Vielleicht sogar sein Meisterwerk.

Una película ,que todavía no la he visto,pero la he chequeado capítulo a capítulo.y se ve y de olle de fábula .una copia muy buena sin grano aparente,ni siquiera en las sombras

More than an epic tale of an early 20th Century oilman, this is a fascinating study of the greed for power and what it does to a man. We meet Daniel Plainview down the bottom of a mine, exerting himself in mind-numbingly monotonous and backbreaking work, looking for gold or silver. He is a man willing to endure pain and humiliation to grasp more money, or more power. As he quickly moves from gold to black gold, he becomes more powerful, and his ruthlessness and underhandedness become more and more apparent, combined with the charisma required to persuade landowners to part with the mineral rights of their property. We learn about how he sees other people when he adopts a boy who he finds useful to put a kind face on his activities, and how he treats a man appears claiming to be his half brother. The movie kicks into gear though when he meets an equally power hungry man in the unlikely form of the young faith healer and preacher, to whom he takes a seemingly instant dislike. With the relationships with these three characters, we see his dilemna- his power is only something if he can pass it on, but when he sees only the worst in other people, how can he? Who will be worthy of the three to take on his mantle..? The style of the movie has some stunning direction which tells us much of the story through scenes and images, rather than words, yet this is married with an intelligent, absorbing and uncompromising script. The music is daringly inventive, although with me the jury is out whether it is a success or a distraction. Daniel Day-Lewis turns in yet another 100% authentic and believable performance, creating a chilling and yet at times charismatic character, and Paul Dano is remarkable as the young preacher. Sure, women are given little to no role in the story, and it is unremitting in its bleakness, at times feeling like it has been designed to within an inch of its cinematic life. It's not going to be to everyone's taste.. However the authenticity, stunning performances and script that demands the viewer engage in some thought, have created what might just be a bona fide masterpiece, even with its flaws.

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