Obseesion for wealth, power and control can destroy a person's real purpose for existing...

Rating: 10/10 (1 January 2008)

Wealth can destroy a human being's real purpose for existing An incredible masterpiece! Writer/Director Anderson does offer a good insight to approximately the first third of Sinclair's novel, drawing on the viewers' attention to the history of oil drilling, prospecting and oil speculation of the industry's early years. Using a darker approach for defining the times and for his characters' portrayals, he subjects his audience to reflect on the disastrous effects of capitalism and evangelism on the obsessed. Set in 4 phases of time frame  namely 1898, 1902, 1911 and 1927 - the elemental themes of greed, ambition, power, deceit and betrayal, and in a strange and subtle presentation, of adoptive parenting, flow gradually and solidly through the film to expose the declining morals of the characters visually generated through the superb performances of the cast members.
Money being the root of all evil seems to be the driving force behind this film's story and the viewers get to see how money leads to men's obsessive hunger to control and corrupts souls. Long distance traveling, as this film implies, proves not to be an obstacle for those lusting for it. And human greed for larger wealth and control can turn the obsessed into discontented and irresponsible brutal and insane beings. Does the film's title speak of the blood spill from the dangers of oil mining, or of the oil gushing out like blood from veins, or of blood-ties, or of the real blood oozing out of a dead corpse, or even of the Blood of Christ? Whatsoever it appears to be referencing to does indeed reach its most dramatic climax with the film's most astounding three-word last line that could easily apply to all the victims of their self-made fate.
This film does offer an amazing study of an assortment of interestingly intriguing characters, fabulously performed by a great cast of actors whose every move and presence mesmerizes. Daniel Day-Lewis is stunningly effective in his role as Daniel Plainview moving through scenes like an astoundingly celebrated and skillful Kabuki actor! Just watch his facial expressions and his hobbling gait! Paul Dano is just as convincing in his role, first as the mysterious capitalistic Paul, and then as the radical freak, Eli. Whether it's Plainview, Paul or Eli, one will get to listen to the farces they can pull with their gift of the gab and their salesman talk and deceit! Boy, did I cheer for the one who loses his hearing yep, he sure is saved from having to listen to all the deceitful spin.
The stylized cinematic appeal gushes with brilliantly austere and breathless takes, successfully combining the best cinematic aesthetics with thought-provoking content while Jonny Greenwood's soundtracks  string heavy and so intense - pound and creep against the background to provide some uncanny haunting moments. The first 20 minutes of this film's almost dialogue-free introductive collaboration is so dramatically surreal and emotionally gripping. It's the finest and most original piece of art direction I've seen! At the age of 37, P.T. Anderson has proved himself to be a phenomenal filmmaker in the class of the likes of Robert Altman, Martin Scorsese, Jean-Luc Godard, François Truffaut, D.W. Griffith and John Ford! And this film is a testimony to what it means by a genuinely powerful and excellent masterpiece of film-making art and craftsmanship.