Petróleo sangriento

It's about expansion, it's about capitalism, and whatever that caused the demise of the Wild West myth. "There Will be Blood" looks, smell, feels like a Western but this is an Anti-Western more than anything …

There's so much to say about this movie but it left me speechless at the end, Daniel Day-Lewis was hypnotic, giving a performance that reminded me of Orson Welles in "Citizen Kane", and Humphrey Bogart in "The Treasure of the Sierra Madre" ... He's definitely one of the greatest actors of his generation, especially in this performance that probably best defines the alienating effect of materialism. The 40's had Charles Foster Kane, the 80's had Gordon Gekko and the 2000's have Daniel Planview.

Indeed, "There Will be Blood" is not your typical 'soul corrupted by money and/or power' drama, as I said, it's all about materialism, ending with a pocket filled by gold and a heart made of the same stone you've been working on all your life, it's trusting anything that has a specific color, a specific smell, working on a land to find a greasy black liquid gushing from its womb, and never, never trusting or giving any credit to "nothingness" or "abstraction".

Daniel Plainview considers these abstractions with the most profound disdain. Nothing is free, nothing comes from nothing, nothing is unsubstantial. If one claims to be your brother, he has to prove it, if one should make a deal with you, he should talk business and not about education ... not because it's personal, not because it has nothing to do with business, BUT because it is NOTHING and nothingness irritates Plainview as if the only thing he could believe on had to be material. The rest is nothing, feelings are nothing, believing is nothing, these so strong and noble words for us, well, Plainview doesn't give a damn about them...

And more than anything, above all these abstractions, there is religion, God is Daniel Plainview's archenemy … this is the ultimate masquerade for him, the cancer that gangrenes the progress, an evil that transforms people into sheep, almost like animals, the biggest hypocrisy of all … Plainview, the capitalist, almost shares the same opinion than Marx who thought religion was people's opium. And because Plainview despises this hypocrisy, he tries to exorcise his hatred by using religion to achieve his plans, exploiting it, like he exploited his adopted son. No feelings, no sentiments, everything should serve a palpable purpose. The end justifies the means.

And ultimately, he gets rich at the end, he's a respected and feared tycoon, as the purest and most implacable illustration of the American dream. But is he happy? no! because power, prosperity, those are still empty words ... he believes in material, in things, in stuff he drinks like the iconic 'milk-shake' metaphor that still resonates in my mind as one of the most memorable hymns to greed and pragmatism. Plainview is greedy, but not evil, evil is still too abstract a word; because it implies the use of one own conscience while Plainview's conscience was dedicated to one goal: getting bigger, possession, expansion, territoriality.

And are we to blame him? Let's not forget the bleak cinematography at the beginning of the film where we could feel, the stink of the oil, the hardness of the rocks and the land as an incontrollable enemy ... let's not forget that Plainview spent half of his life stuck alone into dark holes made of land, stone, metal, oil, and raw matter, so close he could almost feel them, so close it became a part of him ...

"There Will Be Blood" is the quintessential film about materialism and its alienating power, when all that matters is matter!

This is a compelling family drama charting one man's rise and fall as he ruthless exploits oil in the American west. It has everything you could want from a great Hollywood movie: subtlety, excellent acting, a thoughtful and intelligent script and quite wonderful cinematography.

It's a film in which the oil is a supporting character in itself, and the series of unfortunate deaths and accidents that beleaguer our leading man reminded me of Emile Zola's excellent novel, Germinal. Daniel Day-Lewis gives another assured performance here, living and breathing rather than merely acting his role, and watching his growing feud with the slimy preacher is the stuff of great cinema. All in all a wonderful, epic film, old fashioned in the best possible sense.

The year I was born was the same year Predator and Robocop came out. When I was finally old enough to appreciate films, Little Nicky was in theaters. I know, believe me, I know; rocky start. And often I would watch older films, or specials on older films, and be dazzled. You know the ones. Remember when they made Spartacus? Remember sitting in the movies and watching Gregory Peck play Atticus Finch in To Kill A Mockingbird? Remember the first time you heard "I could've been a contender" through theater speakers? Well I sure as hell don't. But I'll tell you what, now I feel somewhat caught up. Let's begin with the obvious. Daniel Day Lewis. No one's arguing about this. The man is a veritable God among ants on the screen. He takes his role by the reigns and I don't doubt him for a second. In fact, at times, I was downright afraid of the man. Lewis gives what is easily, EASILY the best performance of the past five years. But let's get serious about it. Lewis' Daniel Plainview is the most convincing, awe-inspiring, and downright mortifying character to take the big screen that I can remember. Here, perfectly in his element and at his best, Lewis could go toe to toe with Brando and Kinski, playing a part that oozes enough skill and pathos to earn him a place among Hollywood's, and perhaps the world's, greatest performances of all time. He gives those of us who missed out on the craft, depth of character, and technique of classic cinema a chance to admire a tour de force portrayal of a memorable, identifiable, and completely despicable character, and it's so damned refreshing that I can't stop singing the man's praises. Paul Dano has been taking a lot of fire for this whole thing. People continue to spout their disapproval of the film's casting, saying that Dano has no business rivaling the seasoned Lewis on the screen. Listen, lay down your swords a minute and consider the obvious. The guy was cast opposite the performance of the decade, he's not going to outshine Lewis and you'd be crazy to expect him to. In fact, I think that he and Lewis' back-and-forths are the films highlights, as we see the juxtaposition not only in the characters themselves, but also in their acting techniques. And the cinematography? Welcome to the old days of film. The glory days of Hollywood. Anderson gives us one of the most beautifully shot and directed films in recent memory, truly at the top of his craft on this one. Every moment feels more epic than the last, until the film becomes such a towering cinematic spectacle that the end leaves the viewer exhausted. It's truly an experience not to be missed. Yeah, we missed out on A Street Car Named Desire. And Casablanca isn't gonna be in theaters again any time soon. But in the meantime, There Will Be Blood is just about as good, and will likely haunt our generation as much as the Hollywood studio epics of the past...

Who is Paul Thomas Anderson? There is something about him that does't belong to this earth. That could be a compliment or not, it's all up to us. That's what make his cinema so damn unique. At the end of the day it's all up to us. But the abrasive way in which he visits universes and throws his views to us is so powerful, so arrogant, so enthralling, so infuriating that the experience leaves you baffled and suspicious. but also enchanted, transformed. Here, Daniel's saga could very well be the saga of a Hollywood maverick. So little time for sentimentality. Daniel Day Lewis seems to understand it all and he adds his unmistakable humanity to another monster, after his butcher in Gangs Of New York. His performance goes beyond anything we've seen recently anywhere. From Upton Sinclair to Paul Thomas Anderson via Daniel Day Lewis an unmissable work of art.

"I'm an oil man!" Asserts Daniel Plainview (Daniel Day-Lewis) to a colony of naïve citizens of which he is astutely slipping into his trouser pocket one by one. However (in this case) the man speaks no lie for his veins do indeed run rich with plutonium oil. A crude, black substance embedded deep in the merciless heart of director Paul Thomas Anderson's gargantuan North American epic- There Will Be Blood. A perpetually steady, emotionally-draining and dark character study of an oil guzzling tycoon that vigorously chews on the themes of gluttony and deception, faith and ambition, death and revulsion. Do not be mislead by its title, though. This is not some balls-to-the-wall slasher-flick (as the "chavs" sat behind me seemed to think at the outset). It is a gruelling, drawn-out dissection of a loathsome yet sinisterly-comical individual consumed and maddened by his own persona. And it's absolutely formidable- visual and melodramatic arrestment at its bona fide best that exudes cinematic precision and awe with satire to spare. But it's also a long-winded affair. So thrill seeking, gore-craving moviegoers walk away, now. I'm afraid there will be no blood for you. Sorry. Add to that list- chic-flick, rom-com and sci-fi enthusiasts. You guys may be better off buying another ticket. Taking another ride. Those left, steady yourself for, perhaps, this year's most thought-provoking feature driven by a leading character performance fit to rival the very best.

Ushering in a near dialogue-free opening 15 minutes with a distinct fade-in, Anderson wastes no time in introducing us to the protagonist. Daniel Day-Lewis plays…no scratch that…Daniel Day-Lewis is Daniel Plainview. An ambitious, moustached miner who, while thrashing away at the crust of his motherland- at the turn of the twentieth century- strikes oil. A profitable discovery that fortuitously leads him to H.W (Dillon Freasier), a new-born infant of whom he slots forcefully under his oil sodden wing only to drag about the entire continent in search of large segments of land in which crude oil is stirring directly beneath. Soon enough, Plainview forges a blossoming "family" oil drilling corporation that soon establishes itself as a force in the industry and prospects appear even brighter when, in 1911, Plainview receives a generously eerie, yet pricey tip-off as to where there may be a sturdy supply of his beloved oil. A tip-off in which he pursues like a unwavering moth to an oil fuelled flame as he meanders ominously into Little Boston, California where the true colours of the indomitable oil baron edge disturbingly into light.

Daniel Plainview is an angry, vengeful man whose promises and loyalties to those around him are as false and as futile as his love and respect for God. He "guarantees" the people of the Little Boston ranch; food, water, schools and, to the town's radically odd preacher Eli Sunday (an inspired Paul Dano), a newly renovated church of the Third Revelation. But he cares little for the reserving of his pledges and spends little time guilt-tripping over his numerous acts of iniquity. "I look at people," he says "and I see nothing worth liking." "I have a competition in me," he continues "and I want no one else to succeed". Self-centred sociopath?…Yep, for Plainview is as putrid and as predatory as any character to ever grace the big screen. He putrefies slowly, though. The end product appearing more entity than man. Better yet: an egocentric emblem of evil that governs the screen in an implausible manner in which only an actor of Day-Lewis' calibre can. The sheer potency of his flawless portrayal actually carries the relatively toothless narrative in areas which could be further criticised for chugging along at a near crawling pace at times.

Visually and acoustically, though, TWBB is outstanding- every nuance of every aural and cinematic component work so well with one another to help give the film such power and impact. It's just a shame that no real direction or purpose bled into the screenplay for which Anderson adapted from Upton Sinclair's 1927 novel- Oil. As far as storytelling goes, Anderson has underperformed here. His narrative lacks any legitimate path or hooks and, to be honest, the lack of defining moments- bar the infamous confession and milkshake scenes- within 158 minute running length is a little disappointing. But the manner in which Day-Lewis dictates the audiences' attention more or less vanquishes any negative thoughts regarding the muscle of the plot. Which is why it comes as no surprise that everybody and their brother have duly commended the London-born method actor's impeccable, Oscar winning performance: the epitome of everything grand about Anderson's fifth but not quite finest feature yet; profound, provoking, intense, immense.

In spite of its flaws, TWBB is still an exceptionally powerful piece of cinema that'll remain etched in the minds of those who take to it for quite some time. Even if it's quality is not there for all to see, in plain view.