In 1950s London, renowned British dressmaker Reynolds Woodcock comes across Alma, a young, strong-willed woman, who soon becomes ever present in his life as his muse and lover.
Credits: TheMovieDb.
Film Cast:
- Reynolds Woodcock: Daniel Day-Lewis
- Alma Elson: Vicky Krieps
- Cyril Woodcock: Lesley Manville
- Johanna: Camilla Rutherford
- Countess Henrietta Harding: Gina McKee
- Dr. Robert Hardy: Brian Gleeson
- Barbara Rose: Harriet Sansom Harris
- Princess Mona Braganza: Lujza Richter
- Lady Baltimore: Julia Davis
- London Housekeeper: Julie Vollono
- Biddy: Sue Clark
- Nana: Joan Brown
- Pippa: Harriet Leitch
- Elsa: Dinah Nicholson
- Irma: Julie Duck
- Winn: Maryanne Frost
- Elli: Elli Banks
- Mabel: Amy Cunningham
- Amber: Amber Brabant
- Geneva: Geneva Corlett
- Florist: Juliet Glaves
- Peter Martin: Philip Franks
- Petrol Station Owner: Tony Hansford
- Maitre’D: Steven F. Thompson
- Nigel Cheddar-Goode: George Glasgow
- Young Fan: Niki Angus-Campbell
- Young Fan’s Friend: Georgia Kemball
- Charles Gayford: Nick Ashley
- House Model: Ingrid Sophie Schram
- House Model: Ellie Blackwell
- House Model: Zarene Dallas
- Minetta: Pauline Moriarty
- Cal Rose: Eric Sigmundsson
- Tippy: Phyllis MacMahon
- George Riley, News of the World: Richard Graham
- Rubio Gurrerro: Silas Carson
- John Evans, Daily Mail: Martin Dew
- Reporter: James Thomson
- Barbara’s Lawyer: Tim Ahern
- Princess Mona’s Mother: Leopoldine Hugo
- Bridesmaid: Delia Remy
- Bridesmaid: Alice Grenier
- Reynolds’ Mother: Emma Clandon
- Registrar: Ian Harrod
- Steff: Sarah Lamesch
- Lord Baltimore: Nicholas Mander
- Lady Baltimore’s Daughter: Jordon Stevens
- MC, New Year’s Eve Party: Michael Stevenson
- Mrs. Vaughan: Jane Perry
- Young Fashionable Woman: Charlotte Melen
- Chelsea Arts Club New Years Eve Party Guest (uncredited): Dave Simon
- Chelsea Arts Club New Years Eve Party Guest (uncredited): David Charles-Cully
- Chelsea Arts Club New Years Eve Party Guest (uncredited): Michael Gabbitas
- Chelsea Arts Club New Years Eve Party Guest (uncredited): Louis Hannan
- Wedding Guest / Dancer: Evie Wray
- Pathe News Cameraman: Jonathan Wayre
- Cécile: Cécile van Dijk
- New Year’s Eve Party Guest: Jack Tyson
- New Year’s carnival Float Team Cowboy: Joshua Tomkins
Film Crew:
- Editor: Dylan Tichenor
- Production Design: Mark Tildesley
- Writer: Paul Thomas Anderson
- Producer: Daniel Lupi
- Producer: JoAnne Sellar
- Casting: Cassandra Kulukundis
- Makeup Designer: Paul Engelen
- Script Consultant: Daniel Day-Lewis
- Music Supervisor: Linda Cohen
- Set Decoration: Véronique Melery
- Supervising Art Director: Denis Schnegg
- Casting Associate: Sarah Trevis
- Set Decoration: Mark Bridges
- Makeup Artist: Sarita Allison
- Set Dresser: Matthew Wood
- Original Music Composer: Jonny Greenwood
- Scenic Artist: Rohan Harris
- Production Supervisor: Karen Ramirez
- Assistant Editor: William Fletcher
- Executive Producer: Chelsea Barnard
- Producer: Megan Ellison
- First Assistant Director: Adam Somner
- Gaffer: Jonny Franklin
- Sound Re-Recording Mixer: David Acord
- Costume Supervisor: Marco Scotti
- Post Production Supervisor: Erica Frauman
- Scoring Mixer: John Barrett
- Third Assistant Director: Richard Oxford
- Sound Mixer: Andrew Sissons
- Executive Producer: Peter Heslop
- Supervising Dialogue Editor: Richard Quinn
- Script Supervisor: Annie Penn
- Sound Mixer: John Midgley
- Stunt Coordinator: Gary Powell
- Camera Operator: Colin Anderson
- Sound Re-Recording Mixer: Christopher Scarabosio
- Still Photographer: Laurie Sparham
- Executive Producer: Jillian Longnecker
- Chief Lighting Technician: Michael Bauman
- Rigging Gaffer: James Summers
- Graphic Designer: Felicity Hickson
- Key Grip: Jeff Kunkle
- First Assistant Editor: Paula Suhy
- Unit Production Manager: Samantha Waite
- First Assistant “B” Camera: Dora Krolikowska
- Foley Supervisor: Frank Rinella
- Foley Artist: Ronni Brown
- First Assistant Camera: Erik L. Brown
- Special Effects Supervisor: Chris Reynolds
- Boom Operator: Adam Ridge
- Sound Mixer: Adrian Bell
- Art Direction: Adam Squires
- Makeup Artist: Daniel Lawson Johnston
- Construction Manager: Peter N. Brown
- Foley Editor: Kimberly Patrick
- Art Direction: Chris Peters
- Assistant Art Director: Lara Genovese
- Set Dresser: Mitchell Holder
- Property Master: Paul Stewart
- Hair Designer: Jon Henry Gordon
- Assistant Costume Designer: Sophie Bugeaud
- Extras Casting: Katharina Hofmann
- Production Coordinator: Erin Duffy
- Sound Effects Editor: Coya Elliott
- ADR & Dubbing: James Spencer
- Assistant Property Master: Darren Lyttle
- Carpenter: John Heayn
- Production Accountant: Joe Downs
- Production Supervisor: Claudia Cimmino
- Second Assistant “B” Camera: Jack Bentley
- Assistant Costume Designer: Johanna Garrad
- Second Assistant Director: Emma Horton
- Unit Manager: Drew Payne
- Assistant Production Coordinator: Augustin Dukes
- Second Assistant “A” Camera: Daniel Lillie
- Hairstylist: Emma Bailey
- Location Manager: Ernst Aschi Michel
- Makeup Artist: Louise Young
- Visual Effects Editor: Guillaume Chiavassa
- Seamstress: Heloise Walker
- Makeup Artist: Paul Paintin
- Carpenter: Lloyd Baldwin
- Prop Maker: Natalie Hierons
- Clearances Coordinator: Rowan Laidlaw
- Construction Coordinator: Brian Martin
- Lighting Technician: Jack Farrow
- Seamstress: Kate Jeanne
- Seamstress: Mary Judge
- Seamstress: Alice Kornicki
- Color Timer: Kristen Zimmerman
- Location Manager: Emma Collinson
- Location Manager: Lottie Mason
- Location Manager: Andrew Ryland
- Set Medic: Dawn Greenhalgh
- Production Secretary: Harry Hewitt
Movie Reviews:
- The Movie Waffler: Should you decide to visit your local cinema to take in a showing of Phantom Thread, Paul Thomas Anderson’s latest offbeat character study, you might want to make a bit more effort with your wardrobe than you’re accustomed to for such outings. After spending 130 minutes totally immersed in the world of 1950s high fashion, I felt like an utter rube walking out of the cinema in my jeans and hoody combo.
Phantom Thread is as immersive as cinema gets. From its opening sequence, which takes us inside the House of Woodcock, a London fashion house run in quietly tyrannical fashion by renowned dressmaker Reynolds Woodcock (Daniel Day Lewis), Anderson’s film dismisses any thoughts we might have of our own world of 2018. As we witness Reynolds go about his daily grooming routine it becomes clear we’re watching a movie about a perfectionist, one made by a perfectionist, and starring a perfectionist in what is reputedly his final acting role.
Set in his ways like a tree set in concrete, Reynolds knows what he likes, and he likes what he knows. As such, his relationships with the many admiring members of the opposite sex (the film is set at a time when no man was more attractive than one who made things; and if those things happened to make women feel beautiful, like Reynolds’ gowns, all the better) rarely get past the following morning’s breakfast, where idle chit chat and toast buttering irritate him to a laughably over the top degree.
It’s during breakfast away from home, in a small country café, that Reynolds meets Alma (Vicky Krieps), a pretty Eastern European waitress who is won over by his flirtatious charm and accepts his invitation for a dinner date. The relationship blooms quickly and Reynolds invites her into his home, teaching her the ways of his trade.
It doesn’t take long for Alma’s ways to begin annoying the fiercely independent and somewhat narcissistic Reynolds, and her presence begins to disrupt his work – she’s become an anti-muse! Reynolds’ assumption that she will follow the other women in his past and leave quietly once exposed to his spoilt brat boorishness couldn’t be more wrong however. Alma is determined to make the relationship work, even if she has to take extreme measures.
Read the rest of Eric Hillis’s review at http://www.themoviewaffler.com/2018/01/new-release-review-phantom-thread.html
- Gimly: I saw _Phantom Thread_ as part of a trio. We began watching this Oscar nominated movie at staggered intervals. I, from the beginning. The second, a half hour in. Then her partner, just past the half-way point. But all of us came to the same reaction when we’d been watching for what seemed like days only to realise there was still 30 minutes left: Lying on the cold, dirty floor, begging for it to end.
Prepare for the most heterosexual thing I have ever said: We had to watch YouTube clips of Arnold Schwarzenegger movie-kills and then the whole original _Robocop_ as a palette cleanser after being forced to endure _Phantom Thread_. That’s not hyperbole either, it felt genuinely necessary so that’s what we did. I fear that we live in the world where something this pretentious is considered one of the best movies of the year.
_Final rating:★ – Of no value. Avoid at all costs._
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