Well, I thoroughly enjoyed this rather bizarre take on male-female relationships, in which Vicky Krieps eventually becomes dominant over cold, exacting dress designer Daniel Day-Lewis (in supposedly his last performance); Lesley Manville isn't taking any prisoners either. Like
Magnolia it has a terrific momentum supported by Jonny Greenwood's great score which makes it hard to stop watching even for a moment. I think my only observation would be Anderson has taken over camera duties too (though there's no DoP credit - he claims the gaffer, grip and operator were all as responsible as he) and the result is a little diffused and not entirely as pin sharp as you'd get from Elswit (who was busy) or other collaborators. (It is shot on celluloid still.)
Like all PTA's films, it's also very funny.
You'd hope the costume design would win an Oscar, and it did (Mark Bridges). Day-Lewis and Manville (and Greenwood) were all Oscar and BAFTA nominated. Dylan Tichenor edited.
Day-Lewis worked on the screenplay with Anderson and came up with the name Reynolds Woodcock, which the director found hilarious. The car is a Bristol 405. Day-Lewis kept making me think of John Le Mesurier.
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| Something about these driving scenes makes me think of Clockwork Orange |
The film's dedicated to Anderson's mentor
Jonathan Demme, who died the day the film was completed.
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