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When Daniel Day-Lewis Does Fashion

Like a nuclear device stealthily deployed in the final moments of this year’s Oscar-nomination wars, Phantom Thread was quietly targeted for release on Christmas Day; its detonation will long be remembered among movie geeks. For one thing, it’s apparently the valedictory performance of Daniel Day-Lewis, who announced his retirement from the silver screen last summer. He already stands alone as the winner of three Oscars for Best Actor; we’ll leave it to the oddsmakers to handicap his chances of finishing his storied career by adding a fourth statuette from the Academy for the plum role of the ultra-fastidious, tightly wound Reynolds Woodcock, 1950s women’s fashion designer to British royalty and high society. But I, for one, won’t be betting against him. Day-Lewis—whose father served as poet laureate of the UK—exudes authenticity and is utterly arresting as a tortured, perfectionist soul cosseted in his upper-class milieu. Phantom Thread is also a resounding return to form for director Paul Thomas Anderson (Boogie Nights, Magnolia, There Will Be Blood, The Master), who also wrote the script and served as his own cinematographer. A creative dynamo who has always dreamed big (and has sometimes fallen short, it must be said—as in his previous effort, the pot-hazed slog of Inherent Vice), Anderson here bids fair to rival the likes of Orson Welles and Stanley Kubrick as a Hollywood auteur for the ages.

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