Oil and Family in THERE WILL BE BLOOD

Rating: 8/10 (20 February 2008)

Having been praised for his Altmanesque work on such multi-character and interweaving storyline films as Boogie Nights and Magnolia, Paul Thomas Anderson has set out for completely new territory, and the results, while not necessarily commercially palatable for mainstream audiences, is a unique tale of greed, power, and the loss of one's soul in There Will Be Blood. Adapted loosely from Upton Sinclair's novel, Oil, this is truly a labor of love by Anderson, who has elicited a stunning performance from Daniel Day-Lewis.
A struggling oil miner in 1898, Daniel Plainview (Daniel Day-Lewis), slaves away on a dig until it begins to yield oil. Years later, he raises a child as his son amid the rural setting and buys oil fields while paying little or nothing for them. One day a stranger, Paul, offers to sell his family's land knowing there is some oil. Plainview sets forth to this property in the guise of a hunter and makes an offer to the religious family. The elder son, Paul's brother Eli (Paul Dano), is mistrustful. Eventually Plainview gets his land, begins to pump oil, and coddles the locals in a public relations sleight of hand. Although not a religious man, he subjugates his convictions to secure needed land rights. As Eli becomes a rising force of religious zeal, Daniel becomes a wealthy oil baron. Enter a mysterious man who has family ties to Plainview, and the quest for money and power takes on another aspect that complicates matters. Plainview's thirst for oil will stop at nothing until he is eaten away to a vindictive, monstrous self, setting the stage for a macabre reunion with an old face.
This is a slice of the industrial revolution and the horrors of quality control in keeping with author Sinclair's The Jungle. The period setting, with its raw, forbidding environment and dangerous existence, is vividly realized. This was a time where greedy men dealt with their own kind for personal gain, and women stood their place. Its antecedents are other similarly themed films like Giant, Greed, and The Treasure of the Sierra Madre, while it's lack of warmth and stark visuals would have impressed director Stanley Kubrick. It was a time where future billionaire's were in the making. As such it is a fascinating history and culture lesson all at once. Is this how the West was really won? Is this the darker side to Manifest Destiny? Aside from watching Plainview's amassing of wealth, the core relationship he has with his son, who witnesses much of his machinations, is an interesting one. Plainview at times shows paternal affection only to betray any semblance of loyalties and love for the prospect of oil. In fact, the film is filled with betrayals such as the way Plainview cheats families out of their potential wealth and a gut wrenching scene with his son on a train. It is a bleak film, but you've got to admire the singular vision with which Anderson and Lewis convey this character. We are fascinated by Plainview, but we don't have to like him.
There is a scene that illustrates Plainview's willingness to sacrifice his beliefs (or non-beliefs) in order to gain more oil fields. Set in a small church, this baptism scene is the highlight of the film and goes so over the top that it is a hoot. Further, when Plainview makes a play for land rights among sellers, his pitch becomes canned and rehearsed like a well 'oiled' commercial. He is a selfish con man, a liar, and a cheat. As much as you want to find something redeeming about him, it never fully emerges. He is also a most unforgiving and vengeful man in the worst way.
Former Oscar winner (My Left Foot) Lewis, like legendary actor Paul Muni, has limited his film output over the years. That he chose to do this based on Anderson's script speaks highly of the attraction of other high profile stars (e.g. Tom Cruise in Magnolia or Adam Sandler in Punch Drunk Love). Paul Dano (Little Miss Sunshine) is pretty compelling as Eli, quite a weird, and ominous figure. The cinematography (Robert Elswit) recalls Days of Heaven. The minimalist score (Jonny Greenwood) is a bit unusual as it almost becomes an accompanying sound effect than theme.
The movie does have some impressive, opening minutes that are visual without talking. Some of the dialogue has a sadistic bite to it while the staging of scenes lends itself to a strong theatricality; despite its wide expanse of land setting, it has a claustrophobic feel. The pace of the film, which may test the audience's patience, is quite deliberate and almost slows to a halt, but Lewis surprises and fascinates at every turn. Watch out for the bizarre ending which may perplex some viewers. Although some may not appreciate it, others will simply relish this informal history lesson in the making of a turn-of-the-century mogul as personified by an acting giant who is about to add another gold statuette to his collection.