#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The intersecting life stories of Daniel Plainview and Eli Sunday in early twentieth century California is presented. Miner turn oilman Daniel Plainview is a driven man who will do whatever it takes to achieve his goals. He works hard but he also takes advantage of those around him at their expense if need be. His business partner is his son H.W., who in reality he “acquired” when H.W.’s biological single father, who worked on one of Daniel’s rigs, got killed in a workplace accident. Daniel is deeply protective of H.W. if only for what H.W. brings to the partnership. Eli Sunday is one in a pair of twins, whose family farm Daniel purchases for the major oil deposit located on it. Eli, the local preacher and a self-proclaimed faith healer, wants the money from the sale of the property to finance his own church. The lives of the two competitive men often clash as Daniel pumps oil off the property and tries to acquire all the surrounding land at bargain prices to be able to build a pipeline to the coast, and as Eli tries to build his own religious empire.
Plot: Ruthless silver miner, turned oil prospector, Daniel Plainview, moves to oil-rich California. Using his son to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday suspects Plainview’s motives and intentions, starting a slow-burning feud that threatens both their lives.
Smart Tags: #oil #misanthrope #loss_of_hearing #1910s #prospector #money #faith_healer #ambition #adoption #dynamite #sign_language #experimental_soundtrack #famous_line #rivalry #milkshake #rifle #impostor #bowling_alley #father_son_relationship #actor_shares_first_name_with_character #false_prophet
|8.2/10 Votes: 547,727|
|8.1 Votes: 4795 Popularity: 17.106|
Great movie, not a spaghetti western. Very good story and atmosphere 10 stars.
***Weighty, morose period drama with complex characters and Daniel Day-Lewis***
In the early 20th century, an industrious prospector in Southern California, Daniel Plainview (Daniel Day-Lewis), becomes a shrewd oil magnate, whose journey is paralleled with a dubious Pentecostal pastor of a remote church, Eli Sunday (Paul Dano).
“There Will Be Blood” (2007) is a one-of-a-kind period drama with Western elements. It’s arty and the furthest thing from a conventional blockbuster. You have to be in the mode for a deep, slow-moving, epic flick like this in order to appreciate it. The contemporaneous “The Assassination of Jesse James by the Coward Robert Ford” and “No Country for Old Men” are good comparisons.
Whilst the story and main characters are simple on the surface, they go deep and there are many gems to mine: What good is success if you have no one to love and enjoy it with? Is Daniel a sociopath or a quality individual who acquires sociopathic tendencies because his choices put him on the road of madness? Was Eli a “false prophet”? If so, was he always a con or did he become one?
Why is Eli paralleled with Daniel? Does Daniel have the capacity for genuine love? Does he mean what he ultimately says to HW or are they words born from a sense of betrayal? Would a sane person rashly resort to murder? Is there a positive protagonist in the movie? If so, who and why? If not, why not?
The film runs 2 hours, 38 minutes, and was shot in Southern Cal and Texas (Shafter & Marfa); and Lakewood, Washington (Thornewood Castle).
Unapologetic Tour de Force
PT Anderson’s name already means something, or I should say something else. His self assuredness alone gives me shivers. A modern artist with such clear and severe vision of the world. Boogie Nights, Magnolia, even Punch Drunk Love have an Wellesian disregard for what’s in or out. His films are landmarks that may infuriate some, confuse others and mesmerize the rest of us. Here, with the rigorous tale of an impervious oil man, PT Anderson outdoes himself. He has Daniel Day Lewis as his accomplice in a performance that would be as difficult to match as it is difficult to describe. There is a monstrous beauty here that not even a broken nose can disguise. The saga is filled with long silent moments of tension that take place in a cinematic canvas and an actor’s head. PT Anderson must have known that this was going to be, not only not a mainstream opus but a hard pill to swallow. I for one stand up to applaud his daringness.
Who has the milkshake?
Curious that both of the two best films of the year (the other No Country for Old Men)- likely two of the most daring and great of American films I’ve ever encountered- both are measured, classically told stories of the pit of greed that encapsulates in the soulless. In the case of Paul Thomas Anderson’s film, he uses a source which, as one might expect if one’s read Upton Sinclair, there are as many metaphors to be had as blood.
But not poorly laid metaphors at all, or ones that hit you on the head without reason or proper impact. These are the kinds that enrich a work of art, where they can be thought of later as with the themes, while in the midst of things you’re just wrapped up in the solar-plexus of the story, and more crucially the storytelling. Daniel Plainview is a prospector at the start of the picture who has an image of himself, one that must never be broken. He digs for silver, then digs for oil, and strikes it rich. But he wants more. He buys up land from an Able Holiday, who’s closest related Eli is welcoming, but at a price that the Lord has set (assumingly). Soon there is much oil, lots of it, and a pipeline as well. Eventually, like CF Kane, he’s by himself in his big, dark mansion, without a Rosebud to boot.
Daniel Plainview is such a great character because he is, as played to complete astonishment and embodiment by Daniel Day Lewis (reincarnating, ever so slightly, his volcanic performance in Gangs of New York), a servant to a God that leaves nothing in its wake. He and Eli, in a more-than-subtle sense, are kindred spirits: they worship their idols, one being money and one being God, but they also have a commonality, which is that what they want is never really enough, and what they want relies on those around them at their blind will. When the two, after years of “ups and downs” as Plainview says, have their final meeting in the bowling alley, it becomes less a revelation than a staggering scene of hell. It’s one of the most absurdly dramatic endings in all movies.
But there’s also a greater metaphor, which is the oil itself (by the way, Sinclair’s novel is titled “Oil!” with exclamation point). Anderson’s picture is carefully constructed around a man who for capitalism is his lifeblood, for lack of a better term. The oil keeps flowing, and flowing, as does the money. But it’s never really enough. There’s an inherent fascination with watching a man, like Kane for example, who can never have enough because of a crucial defect in his humanity. No real friends, no real family (a re-emerging “brother” is a big sub-plot), and a son who, when a tragedy befalls him, can never be apart of his own self-created image. Rarely has a character been portrayed, by the actor as well as the director, in such a way that makes him so hateful, so unsympathetic, but never one we can look away from. It’s capitalism unforgiven, if that makes sense.
And meanwhile, with his characters of Daniel and Eli locked in to the web of money and religion in the center, Anderson crafts a film loaded with visual beauty. He’s a director known for elaborate long-takes and tracking shots, but here it’s even more measured, more in tune with a classic epic, as though the Grapes of Wrath were turned on its head. The dialog cuts like a knife, the cinematography has a visionary quality that brings out the spectacle and the personal feeling (less mood, though there’s that there too) of the compositions. And the music by Greenwood is unlike any ever produced, with strings and wailing chords that pierce right along with the narrative.
Altogether, it creates in There Will Be Blood a truly horrific and yet ever so recognizable truth in the American dream. And like No Country for Old Men, none of the characters have a “happy” ending. Not that a bleak ending a great films makes. But if it fits, it should be rode out till its logical conclusion. There Will Be Blood can be called all the big words- masterpiece, classic, essential, must-see, and that it’s maker is worthy of comparison now (more than ever) to the great filmmakers of old. But it’s above anything else a precise drama of conscience, or lack thereof. It’s a fine, fine milkshake indeed.
Original Language en
Runtime 2 hr 38 min (158 min)
Director Paul Thomas Anderson
Writer Paul Thomas Anderson, Upton Sinclair
Actors Daniel Day-Lewis, Paul Dano, Ciarán Hinds
Country United States
Awards Won 2 Oscars. 116 wins & 137 nominations total
Production Company N/A
Sound Mix SDDS, Dolby Digital, DTS
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Millennium XL, Panavision C-, E-Series, Super High Speed, SP and Pathé Lenses, Panavision Panaflex Platinum, Panavision C-, E-Series, Super High Speed and SP Lenses
Laboratory DeLuxe, Hollywood (CA), USA
Film Length 4,325 m (Sweden), 4,368 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 50D 5201, Vision2 200T 5217)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm (Kodak Vision 2383), D-Cinema