The latest from auteur Paul Thomas Anderson is a curious
venture. The story of a meticulous and rather dickish fashion designer, played
by Daniel Day-Lewis in his final film role, it carries a likewise meticulous
approach to visuals. Beyond just the immaculate costume design and pristine
musical score, there’s an overwhelming sense of the ornate throughout this
whole production. It looks, and feels, like few other films I’ve taken time to
cover on this blog, for both good and somewhat perplexing reasons.
And opposite him, Vicky Krieps as his muse and eventual
lover is… complicated. Her performance is stellar, and it’s a credit to her
that she manages to match Day-Lewis’ intensity this well, but her character
makes even Reynolds look straight-forward by comparison. Strong-willed,
bloody-minded and possibly a bit deranged, she works as a surprisingly good
counterpoint to Reynolds’ rather unsavoury mannerisms. The resulting romance
between them is fascinating in a quite clinical sense, showing a wealth of
genuine romantic tension (they feel like a real couple, warts and all) and
somehow making that fit alongside the factitious disorder antics that keep weaving
in and out of the narrative.
This is honestly kind of bizarre in how it portrays both
drama and all-out melodrama with this straight a face, turning the core
relationship over time into something positively screwy. It’s like seeing a realisation of
the original ending for Eternal Sunshine Of The Spotless Mind, where Joel and
Clementine spend decades in an endless cycle of emotionally damaging behaviour.
I should not be as invested as I wound up being in regards to their ultimate
fate as a couple… and yet, something about this still manages to work.
Maybe it’s a Gone Girl situation where two truly troubled
people end up deserving each other’s brand of abusive actions in the end, or
maybe it’s just presented with so much gusto that it’s impossible to resist in
spite of that. Regardless, as a look at one of the more bewildering romances of
the year (or, technically, of the last couple years, since this originally came
out in 2017 and only reached Australian screens at the start of this year),
it’s definitely an engaging sit. Daniel Day-Lewis sure picked one hell of a
role to bow out with.
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