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  • The Paris Review

    Staff Picks: Vengeance, Evil, and Grace

    by The Paris Review Jan 19, 2018 7 minutes

    Still from Phantom Thread.

    As often happens when watching a perfect movie, by the time the first shot bloomed across the screen, I nearly forgot I had a body. I would have forgotten entirely except that made my heart pound and my palms sweat. Friends, this is not a thriller, though it was thrilling. Paul Thomas Anderson’s latest film, and allegedly Daniel Day-Lewis’s last, is about a . It is about devotion, though depending on who you ask it is either about a man’s devotion to his work or a women’s devotion to a man. Either way, the film itself was made with obvious devotion. The clothing is arresting. What color is that bowtie except, perhaps, Proustian? The interior shots each want to be a still. Each time Day-Lewis’s character drives through the English countryside, his perfect sports car enrobes him like his gowns enrobe his clients. Weather, branches, or crowds be damned, he is a perfect pilot in a perfect vehicle. Both the movie and the characters run the risk of failing to live up to the exacting standards they set. But to my intense satisfaction,  is the picture of success. There is a twist, a fetish introduced so deliciously that it makes the trailer for the final Fifty Shades movie look

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