There Will Be Blood: Sketches, Fragments, and Other Half-Baked Ideas

I'll admit it – I've become obsessed with Paul Thomas Anderson's There Will Be Blood, easily the best film of the year. It's been burning inside my brain for weeks now, and I've spent countless hours dissecting Anderson's stylistic, thematic and directorial nuances, for I believe this to be that rarest of things – a perfect film. There isn't a wrong note, or single unnecessary moment, shot, or line of dialogue throughout. I've made several attempts at writing a proper review of the film, but just couldn't come up with anything sufficiently cohesive (or coherent, for that matter.) Though I've seen the film twice already, and have had some wonderful discussions with several other fans of the film, there are a handful of disparate threads regarding influences, allusions and allegories that I've not been able to tie-up. Rather than remain silent, I've decided to post some of these miscellaneous thoughts in the hopes of encouraging discussion. What follows are notes I've jotted down at various moments, thoughts that occurred to me while in the shower, or connections I thought of on the subway. I'd love to hear your thoughts and comments, even if it is to tell me I'm completely insane about any of this. I'm treating this as a work in progress, and I may add or remove sections over the next few days. [Note: Spoilers follow!] BUSH / POLITICAL ALLEGORY One question that's been nagging me is whether or not Anderson is consciously engaging in a bit of political allegory. With a film about an oil tycoon set at the intersection of industry and religion ("When ambition meets faith" is the film's official tagline), it's hard not to think of both Bush 41 and 43. Like Plainview and son H.W. (as in Herbert Walker, or mere coincidence?), the Bush father-son team also made their millions in the oil industry, and control of the precious liquid has resulted in actions that mirror Plainview's, but on a much larger, global scale. What almost convinces me of a political agenda is Anderson's inclusion of There is Power in the Blood, the Protestant hymn which George W. Bush stealthily quoted in his 2003 State of the Union Address, a wink and a nod to his fundamentalist base. Bush's line, "there's power, wonder-working power, in the goodness and idealism and faith of the American people" is an unquestionable twist on the hymn's repeated refrain, "There is power, power, wonder-working power/In the precious blood of the lamb." At the same time, however, There Will Be Blood speaks of the triumph of business over religion, which is certainly contradictory to the current state of affairs in Bush's America, where the two have become increasingly intertwined. When Plainview first speaks to the people of Little Boston, he employs standard political rhetoric ("the children are the future") and then unsurprisingly fails to follow through on his promises. After successfully obtaining the land from the pious Sunday (natch) family and cheating them out of a fortune, Plainview becomes something of an authority figure over the community, having power such that he can put an end to the beatings that patriarch Abel Sunday inflicts on his youngest daughter Mary for not praying enough – the first of his triumphs over faith, which will continue for years until he announces "I'm finished" after snuffing out the final vestige. But what are we to make of this ultimate triumph, nearly twenty years in the making? Anderson doesn't play favorites – there's equal corruption on both sides, and neither Daniel nor Eli are particularly worthy of our sympathy. Daniel's contempt for Eli's church is palpable, but he'll play the game, which includes public humiliation, in order to achieve his goals. Eli will in turn do the same thing. Is the final confrontation simply one man versus another, or do they represent something greater? Eli is a charlatan, and a self-confessed sinner. Is Daniel's destruction of the false prophet merely fulfillment of biblical prophecy? And where's the political allegory in this? (Sigh.) KUBRICK Anderson has always worn his influences on his sleeve, and just as Boogie Nights owes a debt to Scorsese, and Magnolia to Altman, I'm convinced that There Will Be Blood is his ode to Kubrick, and in particular 2001: A Space Odyssey (and to a lesser extent, The Shining). Thematically the two films couldn't be more different, yet there are Kubrickian elements throughout. Let's begin with the simple. MUSIC There are traces of Penderecki and Ligeti (two composers whose work can be found in several Kubrick films) in Jonny Greenwood's magnificent score. Compare Ligeti's pre-credit opening sequence from 2001 with Greenwood's track, Henry Plainview. Ligeti - Overture-Atmospheres Jonny Greenwood - Henry Plainview STRUCTURE Like 2001, TWBB is broken up into distinct, inter-titled sections which indicate leaps in time. Both films open with lengthy sequences that play out without a single line of dialog – 2001's The Dawn of Man, TWBB's 1898 – and both end with a discovery that results in advancement. The mysterious monolith in 2001 leads the apes the discovery of tools (which will ultimately lead man to space), while Daniel Plainview's accidental discovery of oil advances him from battered creature in a hole to successful oilman. (Yet as we later learn, a suit and wads of cash makes him no less a monster.) TONE/THEME Like many of Kubrick's later films, TWBB is filled with a sense of imminent dread, and fear. It's an extremely tense film, yet a slow burn, like The Shining. Societal alienation, a staple in Kubrick's work, is also at the forefront here. SHOTS (Unfortunately, I don't have a screener of TWBB, so I can't properly illustrate as I'd like.) The final sequence in TWBB is the only one not set on the plains, in a wooden shack, or in a hole in the ground, and the difference is as severe as the post-Jupiter scenes in 2001. There are two establishing shots of Plainview's mansion:

The first is vaguely reminiscent of the grand lobby of The Overlook hotel in The Shining. The second, of a bowling alley, calls to mind the room that Dave Bowman finds himself in after the Jupiter sequence. Speaking of that scene...

...here we find Dave Bowman who, like Plainview, is now an old man, alone in what appears to be a stately home. True, his meal is a bit more dignified than a steak on a bowling lane, but the similarities are interesting. Then there's the final scene of There Will Be Blood, which takes us right back to the opening of 2001:

Daniel Plainview dealing with his adversary.

A reminder once again that the title of this post does refer to half-baked ideas. Please feel free to contribute your thoughts below, or the number of a good psychiatric hospital.

Comments

[Daniel]

I can't read this until I see the movie (grr).

But, you realize my friend, you are making a major auteurist political move by posting that shot from The Shining in that aspect ratio? Sides have been chosen!

[alsolikelife]

why do you think the theme of TWBB isn't Kubrickian? This film dissects the 20th century capitalist value system in a way similar to how BARRY LYNDON dissected the 18th century aristocratic value system.

Along those lines I think the Kubrick resonances can be spread through a number of films. Sure the skull bashing recalls 2001; note also how the way he is sprawled out on the floor at the end, shouting "I'm finished!" feels similar to Malcolm McDowell on his back saying "I was cured all right" in CLOCKWORK ORANGE.

On the other hand, what I like most about this film is the sense of energy and momentum given to a lot of the scenes - that is something that you don't see in Kubrick. More needs to be said about what makes this film and Anderson unique. A lot of blogs and reviews have been linking his work to Kubrick, Altman, etc. We can play that game all we like but the bigger fish to fry is honing in on describing what exactly is groundbreaking about this work.

anyhow i think it's a great film too but i have some reservations, which i discuss briefly in my blog.

[Filmbrain]

Ha! I thought about that Danny -- but that's the ratio used in the new Kubrick box set, so I figured, why not...

[Keith Uhlich]

I posted a little rant on Slant (ah, look at me, practically Sondheim) in the blog section about TWBB. 'Splains some of my thoughts on the film: http://www.slantmagazine.com/blog/default.asp?display=158#comments

26th comment. I'm the crazy religious fetishist down on my knees (a favorite position). :-)

[NastasjaBlueEyes]

oh filmbrainy, here i was thinking that there will be paul thomas fucking anderson genius was the most unique film i'd seen in like a decade and then you go and throw up all this kubrick shit which, by the way, i think you are dead write about

plainview is that ape, grunts growls and all

[Jürgen]

Hey Andrew--
you're definitely on to something there. I caught on to the 2001 vibe, and I'm sure there's going to be a healthy discussion about There Will Be Blood as political allegory (seems to me it's larger than just Bush and we're all implicated) -- but man, the movie isn't even out yet! There'll be time for in-depth analysis later; for now, I think I'll hold it with alsolikelife and celebrate Blood qua Blood for a little while longer. It's one hell of a movie.

[Brian]

I too picked up on the Kubrick vibe, but you've got a good deal more evidence laid out here. Interesting.

As for the political allegory, I'm inclined to think Jürgen is right and it's not just about Bush, but I also think the allegory can work for Bush's America as well; the triumph of capitalism over religion after a period of unholy alliance could be intended as a premonition; we just happen to still be in the unholy alliance stage right now.

[Mike Anderson]

All I can say is I thought it was near perfect movie making from story, to the acting, to the art direction to the cinematography. I like that slow burn analogy in comparison to The Shining. That's exactly what I thought. And I did feel that feeling of impending doom looming around each corner. And with the oil well accident, you knew something like that was coming, you could just feel it. I liked No Country For Old Men very much, but I think TWBB has it by a tad. Near perfect film making and story telling, with a iconic monster at the head of it all.

[Peter]

I have only seen the trailers, but is Daniel Day Lewis imitating John Huston as an homage to Chinatown?

[greg]

I haven't yet seen TWBB but does it excuse the utter dreck he's thrown up onto screens previously? never been able to stand the fellow and his faux-monumental constructions composed of fate and "coincidence" and heavy handed metaphors and all that he thinks signifies grand meaning. P.U.

[r]

Filmbrain, No need to send you off to the nut house. Excellent post, hope you follow up on the sketches and fragments. Why no mention of Strauss (Richard or Johan) and Brahms? Also Sprach Zarathustra and the Blue Danube Waltz are synonymous with 2001, just as the Brahms Violin Concerto now belongs to TWBB. Greatest use of classical music in a film since Malick borrowed Wagner's Rheingold theme and a Mozart piano concerto for the New World.

Have you looked at the screenplay for TWBB on the Paramount Vantage site?

Anyway, a happy new year. Congrats on the launch of Benten in 07, looking forward to more Filmbrain activity in 2008.

[Jon Dambacher]

"I have a competition in me; I want no one else to succeed." -- Daniel Day Lewis as Daniel Plainview

Paul Thomas Anderson's latest story, that some of us have been waiting five years for, There Will Be Blood is a dazzling film that reassures trust in the future of this complete storyteller. First, what's never failed to impress me, four--now five--films deep, is Anderson's ability to grow and dive deeper into humanity with each time up at bat. As Punch-Drunk Love confirmed our hopes that the young writer/director hadn't just been on a lucky streak with multi-character Los Angeles stories, Blood proves to be Anderson's boldest project.
Determined to rise out of a hole in the ground with his much sought after fortune, we follow Mr. Plainview from underground, spouting black gold out onto the dirt, then finally to the marble floors that shine under his feet. Set in the late eighteen hundreds. A grim journey of self destruction. The rise and fall of an opportunist. While his robust aggression toward his craft, oil digging, made him a sought after middle-weight institution the ruthless intimidation tactics exposed the underbelly, sweat, lies, and blood that inevitably follows a man with power and success.
Plainview is a conqueror. When met by a young faithful boy, a challenge to posses something he had yet to own was of high importance. Sinking his teeth into a slice of American pie, he conquered his little goal. Until the next challenge was placed in his path, he met it face on, eager to conquer that, the next thing, and whatever was lying just beneath the surface on the other side of the grassy knoll. A self proclaimed family man. An oil man. A wealthy man. A man looking for his place in the world. A world which is a wide open range with millions of acres still untamed with endless possibility.

Watching the dry and crackling light in every scene brings back memories of The Searchers, El Topo, or even a rich smoothness from Westworld. Anderson's camera and scenic design makes the dirt, dust, and oil seem appetizing The wide open space shot through anamorphic lenses gives you a sense of longing for a time when prospecting was still a job and land, real life land, was able to be tamed if you had the hands to reach out and claim it. The 158min. running time blinks past you in a rush of anticipation. Anderson's tale is lined with a delicate mix of musical tone and heart beating rhythmic score lending itself to the very soul of the film. A good tap on the shoulder to the Coen Bros. "No Country For Old Men" which featured no music score or accompaniment--also proving to be an affective tool. Both films share a fresh breath of silence melting us even deeper into the mise-en-scène.

The story, though absolutely and respectfully Anderson's creation, does shadow such great films as Barry Lyndon, Citizen Kane, and to a further stretch Sweet Smell of Success. Where, as in all good stories, the line is clear, straight, and able to grab hold of you and take us along with it, There Will Be Blood doesn't pass judgment, doesn't tell us right from wrong, it simply presents us with options. If it's Barry Lyndon, Charles Foster Kane, or J.J. Hunsecker the objective is crystal clear. This is what I want and I will do anything to get it.

Please see this film. You'll most likely see me there, again, hopefully in a packed theater.

-- Jon Dambacher

[Filmbrain]

Jon --

I apologize for not responding to this sooner, but thanks for sharing that wonderful take on the film. Anderson's refusal to judge, as you point out, is one of the film's great strengths, especially considering how the film deals with issues (capitalism, religion) that are usually highly divisive.

[Peter]

UPDATE: Apparently Day-Lewis got Plainview's voice from wax cylinder recordings of similar historical personages. However, when interviewed by Henry Rollins, Anderson did admit listening to Penderecki while writing the screenplay.

[don lewis]

Really great post, FB. Not sure I can get behind idea #1 as the Bush family are failures, especially Jr. and Jr. especially in terms of the oil business. For all his shortcomings, Plainview is the anti-Bush in that everything he sets out to do, he does and does it on his own. Plus I just don't think there's that much allegorical subtext as Anderson has said he wanted the story to be straight forward and simple. Obviously, oil is the hot topic and looking at TWBB from that angle is inevitable, it's almost like a rope-a-dope and I'd even go so far as to say focusing on that angle does the film a disservice.

I LOVE the Kubrick ideas from you and the other here. Damn it, now I have to go back, watch all the Kubricks again and go see TWBB again right after. However, I can't tell if the film is really paying homage to Kubrick or if Anderson, frankly, has finally got sober...or quit doing drugs. His other films and their frenetic energy and adherence to doing every damned word PT wrote, while great for the most part, fit with PT's skittish personality. In interviews now, he's much more mellow. It's like a reverse Peckinpah...the further he spiraled into drug and alcohol abuse, the more frenetic and whacked out his films got (see: Alfredo Garcia, Bring me the Head of).

All great food for thought....(what you and others said I mean)...

[hspencer]

After reading a few critical responses on various sites, I was just wondering if there was in fact a doubt as to whether Eli Sunday and Paul Sunday were two separate people? I know it was played out slightly ambigiously at times in what ended up on screen in the final cut, but I thought it was pretty clear in the end that they were two separate people....or am I missing something?

[Larisa]

I really dig the connection with 2001
but I feel like the ending was also possibly influenced by McDonagh's play
The Skulls of Connemara. I saw the play a while back, but I remember the ending being most surprising because the main character, and old man, begins smashing skulls on stage. Man against nature, old conquering death. I also think Anderson is merely proving that underneath it all, Daniel is a savage which by the end of "Oil", Upton Sinclair did not make him out to be, but instead glorified him in a way, as a captain of industry (or so I've read and heard).

[Adrian Correia]

Does anyone know of the specific classical pieces that are used in Blood?

[Filmbrain]

Adrian -- Other than the Brahms piece, Arvo Part's Fratres is (I believe) the only other piece of music not composed by Greenwood.

[Andrea]

I enjoyed your analysis. I've only seen the film once, but stumbled on this post by googling "there will be blood" and 2001. I, too, felt that there were strong 2001 references. In addition to the ones you mentioned, I also noticed that there's no dialogue until the second reel of the film. This dialogue occurs after time has passed and happens during a scene on a train. In 2001 it's on the spaceship.

Also, the whole bowling alley scene reeked of Clockwork Orange to me.