Fashion.
The clothes that we wear. Some [like me] couldn’t possibly care less about the threads on our backs. I actually wear the same thing day after day after day. It’s strictly functional. End of story. The only thing that changes is the seasons. For others though “fashion” is more akin to a calling. Among other things, they worship and adore those “designers” who make the outfits they wear. And, back in the early 1950s, in and around London, “movie stars, heiresses, socialites, debutantes and dames” all flocked to “the distinct style of the House Of Woodcock”.
And Reynolds Woodcock was the owner. With him, women would come and go as he went about the business of dressing them in “the height of fashion”.
Until that day when one woman in particular…
He is much older than her. A distinguished gentleman. And she is young and pretty. He is nearer to the top rung in the class struggle, while she is “just a waitress”. Not all that uncommon in films of this sort.
And that is basically what this is all about. A man goes about the task of diligently sustaining the fixture that he has become. Until “she” comes along and changes everything. In other words, his “carefully tailored life is disrupted by love.”
So, here, everything revolves around how you react to these two characters. And the extent to which their evolving relationship comes to intrigues you. Their romance is said to be “suspenseful”. Which, for me, revolved around the extent to which Alma either is or is not being “calculating”. She is clearly meant to meld herself entirely into his world. Will she? In other words, in being calculating she will likely be manipulating as well. Then it all comes down to her intentions. And [of course] to the way things play out. There are parts of any relationship of this sort that can seem glorious. But then the day to day interactions bring out other parts considerably less so.
And yet as with so many films of this sort that will only be construed from a point of view. Thus here — imdb.com/title/tt5776858/re … ef_=tt_urv — you come across reactions that could not possibly be more completely at odds. They are all watching the same film, of course, but only, one by one, from within the parameters of a “sense of reality” that they have concocted “inside their head”.
How then to pin down the implications of that? The philosophical significance perhaps?
Truth be told, I had once myself been rather contemptuous of those “slaves to fashion”. Now, however, such value judgments have become considerably more muddled. For the better and for the worse.
IMDb
[b]Director Paul Thomas Anderson got the initial idea for the film while he was sick in bed one day. His wife, Maya Rudolph, was tending to him and gave him a look that made him realize that she had not looked at him with such tenderness and love in a long time.
In preparation for the film, Daniel Day-Lewis watched archival footage of 1940s and 1950s fashion shows, studied famous designers, consulted with the curator of fashion and textiles at the Victoria and Albert Museum in London, and apprenticed under Marc Happel, head of the costume department at the New York City Ballet. He also learned how to sew, and he practiced on his wife Rebecca Miller, trying to recreate a Balenciaga sheath dress that was inspired by a school uniform.
Daniel Day-Lewis and Lesley Manville became real-life friends for six months prior to filming began in order to establish the close relationship between Cyril and Reynolds.
Many of the staff of the Woodcock couture house, as well as other bit parts, are played not by professional actors but by real seamstresses or persons connected with the fashion world.[/b]
trivia at IMDb: imdb.com/title/tt5776858/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/Phantom_Thread
trailer: youtu.be/xNsiQMeSvMk
Phantom Thread [2017]
Written and directed by Paul Thomas Anderson
[b]Alma: Reynolds has made my dreams come true. And I have given him what he desires most in return.
Doctor [off camera]: And what’s that?
Alma: Every piece of me.
Doctor: He’s a very demanding man, isn’t he? Must be quite a challenge to be with him.
Alma: Yes. Maybe he is the most demanding man.
…
Johanna: Try these. Reynolds? They’re delicious.
Reynolds: Remember I told you, Johanna? No more sludgy things.
Johanna: I didnt know that. You may have told it to someone else.
…
Johanna: Where have you gone, Reynolds? There’s nothing I can say…to get your attention aimed back at me is there?
Reynolds: I cannot begin my day with a confrontation. Please? I’m delivering the dress today and I can’t take up space with a confrontation. I simply don’t have time for confrontations.
…
Henrietta [a countess of her new dress]: Yes?
Reynolds: Let’s take it for a walk.
…
Cyril: Well, what do you want to do about Johanna? I mean, she’s lovely, but the time has come. And she’s getting fat sitting around waiting for you to fall in love with her again. I’ll give her the October dress. That’s all right?
[Reynolds barely nods]
…
Reynolds: Do you have a photograph of your mother?
Alma: Yes.
Reynolds: Will you let me see it?
Alma: Not here, at home.
Reynolds: Carry it with you. Always carry her with you.
Alma: Where’s yours? Your mother?
Reynolds [tapping his suit jacket]: She’s here in the canvas.
Alma: What do you mean?
Reynolds: Hm. You can sew almost anything into the canvas of a coat. Secrets. Coins. Words, little messages. When I was a boy, I started to hide things in the linings of the garments. Things that only I knew were there. And over my breast, I have a lock of my mother’s hair. To keep her close to me always. She’s quite a remarkable woman. She taught me my trade. So, I try to never be without her.
…
Alma: If you want to have a staring contest with me, you will lose.
Reynolds: Hm.
Alma: You are a very handsome man. You must be around many beautiful women.
Reynolds: Yes.
Alma: Why are you not married?
Reynolds: I make dresses.
Alma: You cannot be married when you make dresses?
Reynolds: I’m certain I was never meant to marry. I’m a confirmed bachelor. I’m incurable…Marriage would make me deceitful, and I don’t ever want that.
Alma: You sound so sure about things.
Reynolds: I’m sure about that.
Alma: I think you are only acting strong.
Reynolds: No, I am strong.
Alma: For who? Not for me, I hope.
Reynolds: I think it’s the expectations and assumptions of others that cause heartache.
…
Reynolds [taking her measurements]: You have no breasts.
Alma: Yes, I know. I’m sorry.
Reynolds: No, no, you’re perfect. My job to give you some. If I choose to.
…
Cyril: You have the ideal shape.
Alma: I do?
Cyril: Hm. He likes a little belly.
…
Reynolds: I feel as if I’ve been looking for you for a very long time.
Alma: You found me.
[and then after a pause]
Alma: Whatever you do…do it carefully.
…
Alma [voiceover]: But in his work, I’ve become perfect. And I feel just right. Maybe that’s how all women feel in his clothes.
…
Alma [to the doctor off camera]: Sometimes, we wake up at four in the morning…after we’d gone to bed at midnight. And then he’s ready to start again. And I can stand endlessly. No one can stand as long as I can.
…
Cyril: Alma, this fabric is adored by the women who wear our design. It’s perfect for this dress.
Reynolds: Cyril is right. Cyril is always right. It’s not because the fabric is adored by the clients that Cyril is right. It’s right because it’s right. Because it’s beautiful. Maybe one day you will change your taste, Alma.
Alma: Maybe not.
Reynolds: Maybe you have no taste.
Alma: Maybe I like my own taste.
Reynolds: Yeah, it’s just enough to get you into trouble.
Alma: Perhaps I’m looking for trouble.
Reynolds [abruptly]: Stop!
…
Reynolds: Please, don’t move so much, Alma.
Alma: I’m buttering my toast. I’m not moving too much.
Reynolds: Well, it’s too much. It’s a distraction. It’s very distracting.
Alma: Maybe you pay too much attention to it.
Reynolds: It’s hard to ignore. It’s as if you just rode a horse across the room. It’s too much movement. It’s entirely too much movement at breakfast.
…
Cyril: Perhaps you should take your breakfast after him. Or in your room?
Alma: I think he’s being too fussy.
Cyril: His routine when he’s in it is best not shaken. This is a quiet time. Not to be misused. If breakfast isn’t right, it’s very hard for him to recover for the rest of the day.
Alma: I didn’t know that.
Cyril: No, of course you didn’t. But you do now.
…
Alma [to the doctor off camera]: You see, when you…when you love your work…and you can give like he does you need to come down again. And then, he’s…he’s a baby, he’s…like a spoiled little baby. When he’s like this, he’s…very tender. Open.
Doctor: How long would these episodes last?
Alma: Only a few days and then he’s well again.
…
Alma: What if the mushrooms are yellow underneath and white on top?
Housekeeper: The poisoned ones have gills. Look at the book in the kitchen.
…
Reynolds: I would like the dress back.
Woman: Ms. Rose is sleeping.
Reynolds: She’s sleeping. In the dress?
Woman: Well, yes.
Reynolds: Go and take the dress off her and bring it to me right away.
Woman: I don’t think so.
Reynolds [angrily]: Take the fucking dress off Barbara and bring it to me or I’ll do it myself!
…
Alma [to the woman]: It’s no business of ours what Mrs. Rose decides to do with her life. But she can no longer behave like this in a dress by the House of Woodcock!
…
Cyril: I would advise against dinner this, Alma.
Alma: Why?
Cyril: Because he doesn’t like surprises.
Alma: He does.
Cyril: Well, he won’t like this one.
Alma: I’m trying to surprise him. And love him the way that I want to.
Cyril: Well, if you’re looking for something kind to do perhaps, you could think of something else. No, I really must advise against this, Alma. I don’t think there could be a more inappropriate time to try something new.
Alma: This is what I want to do. And I think it will be very nice. I respect to your advice, Cyril, but I have to know him in my own way. And this is what I want to do for him.
…
Alma: Do you like it?
Reynolds: I do.
Alma: No, you don’t. You don’t like it at all. Usually, you always tell me what you think.
Reynolds: What is this?
Alma: You’re lying.
Reynolds: As I think you know, Alma, I prefer my asparagus with oil and salt. And knowing this, you’ve prepared the asparagus with butter. Now, I can imagine in certain circumstances being able to pretend that I like it made this way. Right now, I’m just admiring my own gallantry for eating it the way you’ve prepared it.
Alma [more to herself]: I don’t know what I’m doing here. I…I don’t know what I’m doing here. I’m just waiting around like a idiot for you.
Reynolds: This was an ambush, Alma. To what purpose?
Alma: This is not…I know it’s not going as I expected, I…I didn’t mean these things to come out. I’m sorry, but it was meant to be nice.
Reynolds: Well, what did you expect?
Alma: I wanted time with you. I wanted to have you to myself.
Reynolds: You have me all the time.
Alma: No!
Reynolds: What are you talking about?
Alma: I don’t! I…there…there are always people around. And if not, then there’s something between us.
Reynolds:Something between us? What?
Alma: Some…
Reynolds: What?
Alma: Distance!
…
Reynolds: What happened to make you behave like this? Is it because you think I don’t need you?
Alma: Yes.
Reynolds: I don’t.
Alma: Why, that’s very predictable of you. Don’t act so tough. I know you are not.
Reynolds: Yeah, that’s right, that’s right. If I don’t protect myself, somebody will come in the middle of the night and take over my corner of the room and ask me about their fucking asparagus!
Alma: Don’t be a bully. You’re being a bully.
Reynolds: There are other things I’d like to do with my time. It’s my time. My time!
Alma [again more to herself]: I have no idea what I’m doing here in your time. What am I doing here? I’m standing around like an idiot waiting for you.
Reynolds: Waiting for what?
Alma: Waiting for you.
Reynolds: Waiting for what?
Alma: Waiting for you to get rid of me. So, tell me. So I don’t stand around like a fucking fool.
…
Reynolds: Asparagus. Is this all about your asparagus?
Alma: No, it is not about asparagus.
Reynolds: What the hell is it about? Are you a special agent sent here to ruin my evening and possibly my entire life?
Alma: Why are you so rude to me? Why are you talking to me like this?
Reynolds: Is this my house? This is my house, isn’t it?
Alma: Yes, this is your house.
Reynolds: Is this my house? Or did somebody drop me on foreign soil behind enemy lines. Alma: You brought me here. I’m surrounded on all sides. It’s you who brought me here.
Reynolds: When the hell did this happen? Who are you? Do you have a gun? You’re here to kill me? Hm, do you have a gun?
Alma: Stop it!
Reynolds: Where’s your gun?
Alma: Stop being a child.
Reynolds: Where’s your gun? Show me your gun.
Alma: Stop playing this game.
Reynolds: I’m not playing a game. What game am I playing? What game? What precisely is the nature of my game? You tell me.
Alma: Oh, this whole…All your rules and your walls and your doors and your people and your money and all this clothes and everything! This! This! This game! Everything here! The whole pfff! Nothing is normal or natural or…Everything is a game!!
Reynolds: If it’s my life that you’re describing it’s entirely up to you whether you choose to share it or not. If you don’t wish to share that life as apparently it’s so disagreeable to you in every respect, why don’t you just fuck off to back where you came from?
…
Cyril: Would you like me to ask Alma to leave?
Reynolds: No, why?
Cyril: Well, if you’re going to make her a ghost go ahead and do it, but please don’t let her sit around waiting for you. I’m very fond of her.
Reynolds: Oh, you’re very fond of her, are you? Well, in that case…
Cyril: No, don’t turn it on me. I don’t want your cloud on my head.
Reynolds: Oh, shut up, Cyril.
Cyril: No, you can shut right up. Don’t pick a fight with me. You certainly won’t come out alive. I’ll go right through you and it’d be you who ends up on the floor. Understood?
…
Reynolds [after having been poisoned?]: I’m scared, Alma.
Alma: Yes, of course you are.
Reynolds: Do you think I’ll ever get better?
Alma: Of course. I’ll take care of you.
…
Cyril: The doctor’s here.
Alma: What doctor?
Cyril: The doctor I sent for.
Alma: Oh, no, but he’s…
Cyril: He needs to be examined.
Alma: No.
Cyril: Yes.
Alma: No, he’s not dying.
Cyril: He needs to be examined.
Alma: He’s sleeping now, that’s what he needs.
Cyril: Let me be unambiguous. Come out of the room and downstairs immediately.
…
Doctor: Hello, Mr. Woodcock. May I examine you?
Reynolds: Keep your hands off me.
Doctor: Well, I would just like to take your temperature.
Reynolds: Alma? There’s a strange boy in the room, can you get him out, please?
Doctor: I admit, I do look young…
Reynolds: Fuck off.
Cyril: Reynolds, please, just let him examine you.
Alma: I think this is clear, hm? He wants you to fuck off.
…
Reynolds [the next morning]: I love you, Alma. I don’t ever want to be without you.
Alma: I love you.
Reynolds: I have things I want to do. I thought my days were unlimited. The mistakes I’ve made…I’ve made again. They can no longer be ignored. There are things nagging at me. Things that now must be done. Things I simply cannot do without you. To keep my sour heart from choking. To break a curse. A house that doesn’t change is a dead house. Alma, will you marry me? Will you marry me? What the bloody hell are you thinking about? Will you marry me? No?
[Alma says nothing at first but there is a smile on her face]
Alma: Yes. Will you marry me?
Reynolds: Yes, I will.
…
Lady Baltimore [To Reynolds]: Your wife has got that gorgeous glow you get with a first marriage. It seems my godson’s rather enjoying that glow as well.
…
Alma: It’s a stupid game anyway.
Reynolds: Well, maybe it seems stupid to you now as you’re currently losing, but I dare say, if you were victorious, I’m confident that you’d see it in a different light. Now, they need your chair for my next opponent. Next.
Lady Baltimore: Me, please.
Reynolds [to Alma]: What? What are you so cranky about?
Alma [walking away in a huff]: Have fun with your next opponent.
Reynolds: Well, I-I think I will. A lot more than I did with you.
…
Lady Baltimore [after Alma is gone]: Gosh, she’s really very rude, isn’t she? My heart breaks for you.
Reynolds: Oh, really?
Lady Baltimore: Being married to a toddler. I don’t mean to be racist, but, I mean…Is there some sort of custom at this time of the night in her country where…I mean, what’s she doing?Reynolds: What’s your point?
Lady Baltimore: I don’t know…She’s stealing things or attacking people, I mean.
…
Alma: I want to go dancing.
Reynolds [absently]: When?
Alma: Right now.
Reynolds: You’re joking.
Alma: No, I’m not. It’s New Year’s Eve.
Reynolds: Well, I’m not going dancing.
Alma: There’s a party at the Devonshire Hall to celebrate the New Year. And I want to go. We need to go dancing. So, what are you going to do about it?
Reynolds: I’m going to stay right here and I’m going to work.
…
Reynolds: Where has Henrietta Harding been?
Cyril: She’s been to another house.
Reynolds: Which one? Why didn’t you tell me?
Cyril: Because I didn’t want to.
Reynolds: Is there something that I’m unaware of? Because as far as I can remember, all I have done is to dress her beautifully.
Cyril: I don’t think that matters to some people. I think they want what is fashionable and chic.
Reynolds: Chic? Oh, don’t you start using that filthy little word. Chic? Whoever invented that ought to be spanked in public. I don’t-I don’t even know what that word means. What is that word? Fucking chic? They should be hung, drawn and quartered. Fucking chic.
Cyril: It shouldn’t concern you.
Reynolds: It does concern me. It concerns me very much, Cyril because it’s hurt my feelings. It’s hurt my feelings.
Cyril: So, what’s all this moaning about?
Reynolds: I am not moaning. I do not like to be turned away from.
Cyril [calmly]: Nobody does. But I don’t want to hear it because it hurts my ears.
…
Reynolds: I’ve made a terrible mistake in my life, Cyril. I’ve made a- I made a terrible mistake. I need you to help me.
Cyril: What do you want me to do?
Reynolds [as Alma enters the room]: I can’t work. I can’t…concentrate. I have no confidence. She does not fit in this house. We built this house. The two of us. Now she’s turning the whole bloody place upside down. She’s turning me inside-out. She’s turning you and me against each other. Her arrival has cast a very long shadow, Cyril.
Alma [from behind him]: Mrs. Vaughan is satisfied with the dress.
Reynolds [angrily]: No one gives a tinker’s fucking curse about Mrs. Vaughan’s satisfaction!
Cyril [looking past Reynolds]: Thank you Alma.
Alma [calmly]: Not at all.
[she turns and walk out of the room]
Reynolds: What a model of politeness you two are. There is an air of quiet death in this house. And I do not like the way it smells.
…
Alma [to Reynolds who is chewing on her poisoned omelot]: I want you flat on your back… helpless… tender… open…with only me to help. And then I want you strong again. You’re not going to die. You might wish you’re going to die, but you’re not going to. You need to settle down a little.
Reynolds: Kiss me, my girl, before I’m sick.
…
Reynolds [now very sick again]: I think perhaps you should telephone that boy doctor of yours, just in case.
Alma: You don’t trust me?
Reynolds: No, I do trust you, it’s just…
Alma: If you wish. But I will make you well again. I will.
Reynolds: I love you.
Alma: I love you too.
…
Alma [to the doctor]: If he didn’t wake up from this, if he wasn’t here tomorrow…no matter. For I know he’d be waiting for me in the afterlife…or some safe celestial place. In this life… and the next… and the next one after. And for whatever there is on the road that follows from here. It would only require my patience to get to him again. You see to be in love with him makes life no great mystery…Someimes I jump ahead in our life together. And I see a time near the end. I can predict the future and everything has settled. And all our lovers and children and friends come back…and are welcome. And we have large gatherings where everyone is laughing and playing games.
…
Alma: I am older and I see things differently. And I finally understand you. And I take care of your dresses. Keeping them from dust and ghosts and time.
Reynolds: Yes, but right now, we’re here.
Alma: Yes, of course we are.
Reynolds: And I’m getting hungry.[/b]