Phantom Thread *****

I have never had the slightest interest in women’s fashion, so was a little tardy in viewing Paul Thomas Anderson’s Phantom Thread, but of course one doesn’t need to be engaged with haute couture to understand what a very special film this is. Daniel Day-Lewis, in what he says is his swan song as an actor, although only 60 years old, employed all the skills of method acting to become the lead character, Reynolds Woodcock — handsome and superficially charming until his total self-centredness and obsession with his work comes to the fore, buttressed by his icily supportive sister and collaborator, Cyril (a brilliant piece of character acting by Lesley Manville). But the person who pierces Reynolds’ carapace is a German waitress encountered by chance at a hotel in Yorkshire, Alma — an apt name, as it is her spirit as well as her beauty which captivated him. But like a butterfly collector who seizes a spectacular specimen and pins it to a board, so Reynolds tries to exert complete control over Alma as model and muse, belittling her whenever she shows any sign of individuality or passion. But Alma (captivatingly portrayed by the relative newcomer from Luxembourg, Vicky Krieps) is built of sterner stuff than any of the other devoted women surrounding the maestro. She hatches a devilish plot, straight out of a fairy-tale, to weaken Reynolds and then strike in the guise of apparent saviour. The viewer watches with fascination as the spider Alma spins her web and grabs her prey. What makes the film truly great, however, is the direction, which not only brings out the best in the actors but also draws the viewer convincingly into the world of fashion houses in 1950s London, with their snobbery and pandering to the egos of wealthy but often unattractive women, as well as highlighting the dedication of the seamstresses (many taken from real life, rather than using actors). The timing in this exquisite film is all: long drawn out silences, powerfully-delivered single words (no that gradually becomes yes, in the arc of the story) and flashes of sudden anger. All is not well in the House of Woodcock, and his secretly sewing little messages into the hems of the dresses of his ladies will not stave off the curse that is coming and against which he is powerless.