Her arrival
has cast a very long shadow
London, 1950's
Reynolds Woodcock, a famous designer
makes the heart of fashion palpitate
dressing up the royal family
movie stars
and high society women
Unrepentant bachelor
bulimic worker and impossible man
Reynolds has his achievements
according to the mood, and manages his maison
solemnly
Mr. Woodcock has a weakness
for the beauty that he recognizes in Alma
a waitress in a coastal hotel
The young girl follows him to London
and becomes his muse
revealing soon a tenacious character
Together with The Master and Inherent Vice
Phantom Thread confirms that
something has occurred
to Paul Thomas Anderson's cinema
In the manner of the selected fabrics
by Mr. Woodcock
the last three films
look more like crossed wires
of weft and warp
than the old choral constructions
Opaque and sinuous
Phantom Thread serves two impeccable actors
that pit themselves on the scene
with a more complex relationship
than the one that the initial picture left to imagine
The contemplative rhythm
allows the director to observe
the insidious influence of Mr. Woodcock
on his muse and to emphasize
the importance of his profession
that fascinates him as much as the British cinema
to which he pays tribute
But what at the beginning
appears as a refined romantic theorem
turns into a psychological thriller
what it looked like
a magnificent exercise of references
is an autonomous work of exception
The conventional passionate development
gives way to a game of manipulation
a codependency between passionate slaves of pain
consistent with the image of human relationships
that the author loves to investigate
along the drifts of the American dream
Lorenzo Frediani played a review by Marzia Gandolfi
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