A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
The intersecting life stories of Daniel Plainview and Eli Sunday in early twentieth century California presents miner-turned-oilman Daniel Plainview, a driven man who will do whatever it takes to achieve his goals. He works hard but also takes advantage of those around him at their expense if need be. His business partner/son (H.W.) is, in reality, an "acquired" child whose true biological single-parent father (working on one of Daniel's rigs) died 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, a 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 ... Written by
Huggo / edited by statmanjeff
Several characters seen or mentioned in 'There Will Be Blood' seem to have been based on historical figures. Though his name is never spoken during the film, Plainview's business partner H. B. Ailman shares the name of an actual prospector and oil man who was active during the turn of the century and associates with oil tycoon Edward L. Doheny, on whom Daniel Plainview seems to have been partly based. The two Standard Oil representatives "H. M. Tilford" and "J. J. Carter" who meet with Plainview are based on historical oil men: Henry Morgan Tilford was once vice-president of the Standard Oil Company during the turn of the century, while John Joyce Carter's Carter Oil Company was incorporated and subsidized by Standard Oil (New Jersey) in the 1890s. At one point in the film, the name "A. C. Maude" is stated as a property holder in Little Boston; the actual A. C. Maude was a prominent community member of Bakersfield, California during the late 1800s; Bakersfield is located in Kern County, where over 80% of California's oil wells are found. The name "Redlick" is also stated as a Little Boston property holder; Joseph Redlick was also a prominent community member of Bakersfield during the early 1900s. See more »
In the final scene, in the bowling
room, Eli Sunday downs one of three drinks and sips on
the second. He gets up, but in the next shot there are
two empty glasses instead of one. See more »
Abandoned my child.
Say it louder... say it louder!
I've abandoned my child! I've abandoned my child! I've abandoned my boy!
Now beg for the blood!
Please, give me the blood, Eli. Let me get out of here.
Give me the blood, Lord, and let me get away!
See more »
There are no opening credits, except for the title See more »
Pärt: Fratres for Cello and Piano
Composed by Arvo Pärt (as Arvo Part)
Performed by I. Fiamminghi (as I Fiamminghi, The Orchestra of Flanders)
Conducted by Rudolf Werthen
Courtesy of Telarc International Corporation See more »
This film raises the game for everyone out there. I have loved all of Paul Thomas Anderson's work, including his greatly underrated Punch-Drunk Love, but this is a huge leap from any of the previous movies into a realm, as others have said, inhabited by classics such as Treasure of the Sierra Madre - and then some. Every element of this film is astonishing, from the opening twenty minutes, which feature virtually no dialog, to Jonny Greenwood's score, which I have heard criticized as too imposing but which seems just about perfect to me (and brings to mind the non-Blue Danube elements of 2001 at its most experimental). Daniel Day-Lewis' performance is in a league of its own: his voice, his mannerisms, his physical movement, his stunted emotions, are flesh and blood, and hauntingly so, in a way that even Tommy Lee Jones in In The Valley of Elah (which I thought was a pretty staggering performance) can't quite attain. I will watch this film again and again simply to see something so raw and so moving and so gut-wrenching. This is why I love movies; this is what made me want to make movies when I was fourteen years old.
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