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There Will Be Blood Analysis ►►

There Will Be Blood (2007) is not only one of Paul Thomas Anderson’s best movies, but it might also rank as one of the best all time. Daniel Day-Lewis is stellar as the vicious oil baron Daniel Plainview and Paul Dano as his would-be nemesis Eli Sunday create sparks every time they share the screen.

Paul Thomas Anderson began his career with high energy and bombastic films like Boogie Nights, Magnolia and Punch-Drunk Love. There Will Be Blood marks a dramatic shift in tone and energy for PT Anderson — ultimately leading to more reserved but nonetheless powerful films like The Master, Inherent Vice, and Phantom Thread.

In this There Will Be Blood analysis, Paul Thomas Anderson brings these two feuding characters to a breaking point. Paul Thomas Anderson films this scene in such a way that we identify with Eli — both during his nervous approach to Daniel and his ultimate denigration in the mud and oil. But how does he do this?

PT Anderson makes simple and direct film blocking and staging choices to capture two things simultaneously — Daniel’s dominance and Eli’s disgrace. To do this, Paul Thomas Anderson uses the camera to occupy Eli or Eli’s point of view at all times. Even when Daniel begins to beat Eli into the ground, we (the camera) drops to that occupy that perspective. In There Will Be Blood, cinematography plays a key role in capturing this violent dynamic.

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