It is 1954 in London and distinguished fashion designer Reynolds Woodcock (Daniel Day-Lewis, the only man to win three Academy Awards for Best Actor) meets a foreign waitress Alma Elson (Luxembourger Vicky Krieps) who becomes his muse, lover and wife in a tale written and directed by Paul Thomas Anderson (“There Will Be Blood” also with Day-Lewis).<\/p>\n\n\n\n
I came late to this film because, having seen the trailer, I was not attracted to the ambience (a world where the rich pay excessive amounts for clothes) or the central character (a selfish and self-obsessed Woodcock). But, the latest lockdown of 2020, I was keen to find a film that I had not already viewed.<\/p>\n\n\n\n
I was not wrong to have reservations about the work which, having seen, I admired rather than liked. The critics loved it, but I found it languid, if not ponderous, and the behaviour of the principals decidedly odd. Yet I have to acknowledge that the acting is excellent, the settings and costumes wonderful, and the music atmospheric. Day-Lewis in particular is mesmerising in what is apparently his last acting role.<\/p>\n\n\n\n
Incidentally the opaque title of the film refers to Woodcock’s practice of sewing hidden messages into the linings of the dresses he makes. I told you some of the behaviours were odd. <\/p>\n\n\n\n
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