There Will Be Blood (***1/2)Drainage! Drainage, Eli, you boy. Drained dry. I'm so sorry. Here, if you have a milkshake, and I have a milkshake, and I have a straw. There it is, that's a straw, you see? You watching?. And my straw reaches acroooooooss the room, and starts to drink your milkshake... I... drink... your... milkshake! I drink it up!There Will be Blood is a film that doesn't pull any punches, and frankly, to work within the same analogy, I think it keeps punching after the ref has already called for the bell. It's a gritty, bleak, nihilistic, character study of a character who seems to literally have no redeeming qualities (besides, perhaps a penchant for coming up with clever witticisms whilst verbally thrashing someone). As
this essay from Alternate Takes describes more eloquently then I'll attempt to, even though the movie is a period piece and takes place over the course of almost 30 years, it doesn't really feel like an epic in that it doesn't really seem to have any grand revelations regarding the turn of the century oil industry, save the fact that a lot of people involved in it were extremely greedy. That's not to say that the movie isn't entertaining, because it is, in large part because of what Daniel Day Lewis does with his performance that, deservedly, won him an Oscar.
The film opens in 1898, with the aforementioned protagonist, Daniel Plainview, covered in soot working by himself to mine for gold and silver. The film then jumps four years ahead, where Plainview is now part of a small team working on a single oil derrick. When one of the workers is killed in an accident, Plainview takes his infant son and claims him as his own. This entire sequence probably lasts around 15 minutes and contains no dialogue whatsoever. During these scenes, the movie's score, composed by one of the members of Radiohead, begins with a grating dissonance that will continue throughout music of the film. It's the sort of music I imagine plays in Daniel Plainfield's mind constantly. The surrealist music, combined with the silent characters, and the numerous wide shots of a vast, empty, desert reminded me more of something like
2001 than any other turn of the century period piece.
After the scene in 1902, there is another time skip to 1911, a year in which the film settles in for most of its remainder. Daniel now travels throughout California with his sort-of-adopted son, H.W., giving the same sales pitch, in which he explains that he's not a contractor or a middleman, but has garnered success in the oil business because of his own individual efforts at the oil derricks: "When I say I'm an oil man, you'll agree." One night he is visited by Paul, a young man from a ranch in the middle of nowhere who claims that he's seen oil flowing up to the surface there. Plainview pays Paul for the tip, but not without threatening to do bad things to him if he's lying. Fortunately for Paul, Daniel and H.W. are able to confirm the truth of what he says, which they do by posing as quail hunters passing through the area. Plainview offers to buy the ranch from its old, world-weary owner, who is all to eager to sell the ranch, which produces nothing save a meager offering of potatoes.
A wrench is thrown in Daniel's plans, however, as Eli, son of the ranch owner and twin brother of Paul, announces that he's aware of the oil as well and warns his father of underestimating its value. A temporary truce is reached as Daniel increases his offer for the land, and throws in more money for Eli to use to build a church. Eli is in many ways the opposite of Plainview. Once he founds his church, Eli becomes a fiery faith-healer, while Plainview is an unabashed atheist, at times seemingly because he wishes he were God himself. Eli seems to be always looking for the larger meaning in something, while Plainview's focus is always "how do I make money, and how do I make it quickly?"
There are other events of all sorts as the film goes on that test Daniel's relationship with his son and, sometimes it seems, his very sanity. As time goes on, his business actually continues to blossom, though we never see him relish in his prosperity, instead seeing only his battles with his personal demons. While his emotional outbursts are some of the most overt you'll ever see in a movie, it is often times difficult to pinpoint exactly what makes the character tick. He admits openly that he detests most people, and seems to shy away from any close relationships that aren't for purposes of business, and yet simultaneously seems very concerned with how he is perceived by others.
Watching the character's self-destruction is incredibly gripping to watch because of how well Daniel Day Lewis embodies the character but, as I said before, it sometimes seems hard to tell what Paul Thomas Anderson wants us to take away from it all. At times, Daniel Plainview, a character which has been meticulously constructed to represent the ultimate level of contemptuousness and nihilism, doesn't seem to exist for a specific purpose, but merely seems to exist. Additionally, while I appreciate the bleak tone set by the score, which is often times allowed to take center stage as the characters remain quiet, I think the film requires you to pick up a little too much simply from context clues and brief glimpses. I like a film that's challenging, but not one that just feels like a chore to watch and understand. Like
No Country for Old Men, this may be a film that requires more than one viewing to really "get" fully, but as of right now I'm calling this a not fully realized vision. We'll see.
P.S. I drink your mikshake. I drink it up.
