Phantom Thread's Ending | Explained Through Art

Here's why it's one of my favorites of the year!
Let me know your thoughts down below!

In this video I:
- Explain Phantom Thread's crazy ending
- Remind people to check everything they eat

PHANTOM THREAD:
Set in 1950's London, Reynolds Woodcock is a renowned dressmaker whose fastidious life is disrupted by a young, strong-willed woman, Alma, who becomes his muse and lover.
Director: Paul Thomas Anderson
Writer: Paul Thomas Anderson
Stars: Vicky Krieps, Daniel Day-Lewis, Lesley Manville
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-SOURCES-

► Footage: Phantom Thread | Whiplash

► Images: Variety | Duke of Burgundy

► Music: God's Plan - Drake

[darrylloke]

Both people wanted different things in the relationship. Woodcock wanted a motherly figure. He would always bring up how much he missed his mother, and how he loved making dresses for her. He also acts like spoiled baby throughout the entire film. Once he is poisened by Alma, he enjoys how Alma is looking after him like a mother. This is why he enjoys being poisened. The last scene of the movie his him laying down on Alma's lap saying "I'm hungry" petulantly. Alma on the other hand just wanted all of Woodcock's attention on her. She went as far as to poisened him inorder to break is ego, to put him in a helpless state, so no one will be there to help him but her. So... In a very fucked up way, both their desires complement each other. It's literally toxic love

[Alia-bcrc]

*"Kiss me, my love. Before I get sick."*

That's got to be the most chilling to the bone lines I've heard this year.

[Scrappy]

Definitely a good movie. Reynolds was so used to being in control that he never let anybody EVER take care of him, or let himself be vulnerable. When he's telling his sister that Alma has basically ruined his life, it's him acknowledging that he's fallen in love ... and he's scared by it. He's afraid to feel vulnerable, because he feels he has to be strong for his work to continue ... but in his attempt to be strong and in control, he's overly domineering and rude because he's always been "the boss." He never had a true partner in his life who told him "No." When he realizes he can't lose her because he loves her ... and chases after her to the dance, he finally acknowledges what he feels for her. When he realizes what she's been doing (re: mushrooms), he accepts it only because he knows that around Alma, he can be weak and it's okay. He doesn't have to be strong all the time. He also realizes that he's most tender with her in those moments when he's ill, so if he needs to be weak to let down his guard and show her he loves her, he will do it. Darker love story, but DDL did a great job as Reynolds Woodcock.

[GatewayImage]

SPOILER AND CORRECTION:
The scene in which Alma drives Reynolds' car isn't because of the mushrooms, but it is the first time she experiences what he is like with a subdued ego. After that time when she makes him "strong again" she realizes that he is much more pleasant that way and later decides to break him by force through mushrooms.

[smcd]

Me watching this movie: “Wow, he’s a total douche.” 😡
Also me watching this movie: “Wow, she’s psycho!” 🤭
Also also me watching this movie: “Wow, they’re both so screwed up...they’re kind of perfect for each other...” 🤔

[HeatherHolt]

I hope DDL doesn’t truly retire from acting.

Damn, he’s just so good.

[drees]

I think a lot of this movie owes a great debt to fairy tales, the house in the woods, Woodcock like the wolf, his 'hunger', Alma like red riding hood (she is often dressed in red), his house is like an ivory tower, the curse, the 'potion' that grows in the woods, it's full of imagery straight out of the Brother's Grimm, all sewn up in 50's England.

[FrancoSierraVJ]

In my opinion the ending was an allegorical representation on how we humans embrace toxicity in order to achieve true happiness.

[calaphis]

Dude I think u missed the connection to family, all of PTAs movies deal with family. In this case it was the relationship with his mother. You mentioned the mother and how he was trying to keep her alive, but missed out on the fact that he fell so hard for her because h needed a mother/lover figure in his life. The mother child relationship was established in the same note she leaves on the bill, something to the effect of 'for my hungry boy'. Not man, boy and I believe she used the term 'my' as well.

Then the first time he is sick, he sees his mother, she is dead and can't help, and then in walks Alma to fulfill that roll, pretty sure she even walks in front of his mother and pulls his attention.

You mentioned that he was poisoned and needed her to drive, but it was her that took charge and the lead in getting the dress back.

He needs that motherly figure in his life, hence why his sister is so important to him but Alma brings a whole new dynamic by being the opposite of him, hence the attraction, but it's the motherly obsessed that binds him to her

[jchristopherd]

Not quite. After the fashion shows he falls into a depression and it's then she realises that making him dependant on her is when their relationship works. The mushrooms come out of that. She hasn't been doing it throughout.

[jnrunsN]

This felt like a period piece version of Gone Girl

[tinooze]

This film is very psychologically involved. Because in psychology, a man always looks for a woman with lots of similarity with his mother, no matter how hard he tries to go against it, and vice versa for the gender. So when he was poisoned, that is when he felt his mother present in Alma. The point we are all missing is that, any man's ego will not work in front of his mother. Because she always has a way to look through it. I think the movie tries to point it out by embracing the strong image of his sister, but the sister is not matter too much because they're equal. But the mom, to whom he cannot deny the love, the weakness, to show his true self. So when Alma takes care for him in his sickness, he feels his mom's presence and he feels and believes she is the one, his mind by then triggers a turning point to join Alma's image and his mom's image into one presence.

[jeenfall]

The movie should be called " Mommy issues", great film tho!

[reservoirdude]

My review for 'Phantom Thread' (forgive the length, but I'm pretty proud of this one):

Whenever I think of the work of Paul Thomas Anderson, I get this overwhelming feeling in my chest. To make a lame but relatable comparison, the feeling reminds me of that intense wave of emotion you get when you walk down the street and you just so happen to see the woman that you're madly in love with; you feel a level of joy that very few experiences could match, and the elation that's taken you over could never be bested. Yet, as specific as that explanation was, it STILL doesn't do how I feel about his work any justice. Anderson's films, as wildly different as they are, have made me weep like a baby, smile like a fool, and have left me stunned, baffled, heartbroken, and generally amazed, starting even at his almost effortlessly accomplished debut, 'Hard Eight.' I guess what I'm trying to say is at this point in my life, PTA inspires me even more so than Quentin Tarantino, the man who, formally introduced me to cinema as I know it now. It may seem like blasphemy, especially to the ones who know me, but this film is another reason why the above spiel is so accurate.

From its opening images, we can immediately tell that 'Phantom Thread' is Anderson's most regal and dizzyingly stunning visual achievement. While there is no credited cinematographer (according to Anderson, the cinematography was a "collaborative effort" between himself and a number of technicians in the crew), I could only imagine that the visual style of this film is yet another step in Anderson's own evolution as a filmmaker since this, like all of his work, is distinctly his vision and his alone. It's been a slow but steady path from the stylish, dynamic, visceral (and admittedly Scorsese-esque) camerawork his early films were known for, but with its swirling, dreamlike Steadicam and handheld sequences, precise and painterly wide shots, and intimate but never intrusive close-ups, one can't help but think that, visually, this is the kind of film the likes of David Lean, James Ivory, or even Michael Powell would have made in their heyday.

Then there's its story, which owes a great deal to the classic romantic tales of cinema past, such as the films by those directors I mentioned earlier. It's an arresting, supremely romantic, jarringly dark, yet surprisingly humorous drama about love as as well as the artistic process. The process in question belongs to a renowned fashion designer by the name of Reynolds Woodcock (Daniel Day-Lewis). His dresses, made exclusively in a lavish manor called the House of Woodcock, catch the attention of many a high society figure, mainly because of Woodcock's obsessive work ethic and unparalleled specificity when it comes to the dresses he crafts. But when he meets a Belgian waitress named Alma (Vicky Krieps), she instantly becomes his new muse, and from there a story of passion, misplaced and otherwise, unfolds in many a surprising way. In fact, as the film progresses, we find that with this relationship comes a very intriguing power struggle between not only Reynolds and Alma (who proves right away that her willingness to put up with Reynolds' borderline childish proclivities can only be stretched so far), but Reynolds' sister, Cyril (Lesley Manville) whose almost alarmingly close relationship to her brother acts as a buffer between the two lovers who want desperately to be together, but even then have very different ways of how they should go about it. It's a very unusually told story, but it's one you may or may not expect.

As I've stated already, this is a spectacularly crafted piece of cinema, and it's made even better based on two main components: first off, Jonny Greenwood's ravishingly glamorous Oscar nominated original score. Never overpowering or underutilized, the score (that can go from a deceptively simple piano theme, to a lush orchestral piece, to an energetic and jazzy big band sound), plays an integral part in shaping the narrative, and not only proves that Greenwood is one of the best film composers working today, but showcases his natural ability to make music work for a film taking place in any given period. One can only hope that the Academy rights the wrong that was not even nominating Greenwood for his magnificent score for Paul Thomas Anderson's other masterpiece 'There Will be Blood' back in 2007.

The second point I have to make is in response to the three lead performances. This is apparently Daniel Day-Lewis' final film before retiring, and if that truly is the case, this is one hell of a film to go out on! His performance in 'Phantom Thread' is equal parts infuriating and sympathetic; from mood swings stemming from something as innocuous as someone scraping burnt toast over breakfast, to a pivotal moment of vulnerability and sickness, Day-Lewis presents to us a man so wrapped up in his own world that he either can't or won't break out of it, even if it's for love. I'm telling you, he ends his film career on a major high with this performance, and as great as I hear Gary Oldman is in 'Darkest Hour' playing Winston Churchill, I have to say that that kind of Oscar bait performance doesn't sound like it can hold a candle to something as subtle and truly Oscar-worthy as what Day-Lewis was able to accomplish. The same sentiment goes to the incredible Vicky Kreips and Lesley Manville. Krieps has such a strong but ethereal presence in the film, and her Alma acts as a very appropriate counterpoint to Woodcock. Totally understated and real, it's a shame to know she wasn't nominated for the Best Actress Oscar, as she definitely holds her own when up against Daniel Day-Lewis. Lesley Manville, whose performance in this earned her a much deserved Best Supporting Actress Oscar nod, is also a powerhouse, playing Cyril almost like an ominous shadow being cast upon Reynolds and Alma. A vaguely incestuous type of relationship is hinted at between the siblings, but figuring out whether or not that's the case is the fun part. To be honest, I had never heard of either actress, but based on their stunningly real portrayals of two very different but equally powerful women, I pray that there's some kind of justice in this world that sees the two in more high profile roles like the ones in this film.

'Phantom Thread' is a triumph of such dazzling, almost otherworldly beauty, that I regret more than anything the fact that I wasn't able to see it in cinemas, as its power would probably be even more apparent on the biggest screen possible than it ever could by watching it on a TV. The film is a masterpiece in every conceivable way, and while 'There Will be Blood' may have my heart when it comes to PTA's flawless filmography, I can't help but feel after the emotional rollercoaster I experienced that maybe, just maybe, this film will take its place. Congrats, Paul, and farewell, my dear Daniel.

[Jillthinkstwice]

I believe that he also enjoyed getting sick so he could see his mother....Or am I the only one getting that?

[Lisa-lgpn]

They're facilitators - he needs to be mothered, she needs to be needed. It's a kind of sado-masochistic relationship. What relationships aren't in some way?

[juanvalenzuela]

I've seen this movie four times in a theater, and am certain that I'll go a fifth. Something I haven't done since Goodfellas back in 1990. On this last viewing I was struck by something that must have brushed by me on previous viewings, and that's when Alma alters the dress Reynolds is making for a client. This is when he expresses to Cyril that Alma is distracting him. Reynolds is losing clients because he's not as relevant a designer as he once was, and he can't grasp the idea of chic. Alma is significantly younger than Reynolds, she probably does, and we never hear or see if he is upset that she's put a large bow on the back of one of his dresses. While I am not a genius like Reynolds, I too saw a lot of myself in him, with regards to being unable to allow someone fully into my life. All I needed was to find that girl willing to poison me in order to save me from myself.

[atrijitdas]

I loved the sequence with the doctor's visit after the first poisoning. The doctor kept calling both-Alma and Cyril as "Mrs.Woodcock" (Alma had not married Reynolds yet) This was the moment where the dynamics of all three main characterd were at the tipping point. Up until that point, Cyril had been that domineering figure in Reynolds' life. Then Alma comes into the picture and suddenly he can have more than just a dominatrix. He can have an actual romance aspect in the mix. (Important to note that Alma wants to offer this and isn't coerced into anything) Alma then takes over and Cyril is hardly seen in the movie from that point.

[penndavis]

This is definitely one of the best movies of 2017

[suraya]

DDL's character, fussy, childish, snobbish & self- centered, reminded me of a relationship I had w/a total narcissist. The 1st 2 yrs, he seemed to genuinely love me; he had 2 spinster sisters who were as cold as ice, & smugly disapproving as Cyril was. The 3rd year, suddenly my mannerisms annoyed him, & he became critical & said cruel things; seemed to get twisted satisfaction from seeing how he could hurt me. Then the emotional, verbal, & eventually, physical abuse started. (I had made the mistake of living w/ him after year 2, so had let myself bcm dependant on him). I had to plot my escape in secret, bcs I was convinced he wd hv killed me, if I left him 1st. He stalked me, constantly trying to control every aspect of my life. He did propose marriage at 1 point, but I sensed he was "future-faking", as a way of manipulating & further humiliating me. Escaping was the best thing I've ever done; I moved out of state. So while this movie was fascinating, it hit close to home & creeped me out, seeing 2 sick ppl, who needed serious drama, to be "happy" & "in love".