Lesley Manville received her first Oscar nomination for her performance as Cyril Woodcock in Phantom Thread.
Phantom Thread is a mesmerizing film set in 1950s London about a self-centered, controlling dressmaker whose carefully scheduled life is disrupted by the enigmatic, strong-minded waitress who becomes his muse and lover. An enthralling experience from start to finish, Phantom Thread is a movie in which every single element work in perfect tandem with each other creating an organic, armonic piece. Paul Thomas Anderson's achievement in directing is exemplary - he creates a movie that is stylistically perfect but in which the style never overshadows the substance: it enhances it, creating such an intense atmosphere, simultaneosly bewitching and alienating, that transports the viewer into the movie. It's storytelling at its finest - the story flows naturally and elegantly without any single wasted or superfluous moment yet without rushing any passage either. The bitingly funny and sharply intelligent screenplay, with its original examination on ego and gender roles, should have been far more acknowledged by the award industry, and the same goes to Vicky Krieps' first-rate performance in the leading role.
Lesley Manville's nomination was not a given, but not that much of a shock either: her main competitors for the fifth slot were Holly Hunter and Hong Chau, but the buzz surrounding the former's performance had been fading for a while and the latter, while excellent and supported by both a Golden Globe and a SAG nomination, had the misfortune of starring in one of the biggest disappointments of the year. Manville follows the tradition of a reliably great British character actress getting nominated as soon as she stars in a movie subsceptible to Oscar buzz (not to mention that she was in consideration for a nod in 2010 for her performance in Mike Leigh's Another Year). What makes Manville's nomination surprising is the role of Cyril Woodcock itself: it's not the showiest role in the movie, she is hardly ever the focus of the attention and does not get any typical Oscar-scene - the same can be said for her co-nominee Mary J. Blige but the latter played a more typically Oscar-friendly role, the long-suffering but supportive mother. So it is pretty surprising that the Academy decided to nominate such a reserved performance but it's without a doubt one of the best choices they've made this year: next to Daniel Day-Lewis' and Vicky Krieps' powerhouse performances the role of Cyril could have easily disappeared. If it does not is because Lesley Manville gives a subtly compelling performance that manages to give her realistic depth and personality while never resolving completely the enigma of the character, who remains a fascinating, haunting mystery.
Right from the start of the movie, Manville establishes Cyril as a perfect symbol of efficiency. There is not an ounce of self-doubt or uncertainty in her performance - from the way she walks to her stone-cold expression, everything in her performance feels calculated, studied and almost robotic in a way that is perfectly fitting to the character. Manville effectively portrays Cyril as an extremely, almost brutally pragmatic woman who never lets emotions stand in her way: she imbues her character with the right amount of intelligence, self-confidence and self-control and as soon as she appears in the movie her authority is never in question. There are a lot of unanswered question regarding her - why did she never marry? Does she ever feel lonely or is her job her whole life? Manville's performance never gives answers but they are not needed and there's nothing lacking about the character or her portrayal. The fact that we know so little of her only makes her a more intriguing, fascinating presence. And the movie is commendable for its refusal of turning Cyril into the stereotype of the repressed, embittered spinster that we often see on-screen.
Manville's is a perfect exemple of a supporting performance as she not only creates a memorable and remarkable character on her own right but she also strengthens the leading performances: in fact, Manville shares an excellent chemistry with both of her co-stars and her portrayal of Cyril actually brings further complexity to the central relatioship. In her scenes with Day-Lewis, Manville is amazing at portraying Cyril's subtle ways of manipulating her brother while letting him have the convintion that he is the one making decisions. Cyril does not speak a lot, but Manville makes every line count finding the hidden intention even behind the most meaningless line. She's excellent at showing how Cyril gives orders masking them as suggestions, convincing Reynolds to do what pleases her without making him fully realize the influence and power she has over him. The scene in which she calmly but firmly shuts him down when he tells her to shut up is downright perfection: Manville is fantastic at keeping a seemingly calm tone but her underlying bluntness tolerates no response - and when she says "I'll go right through you and it'll be you who ends up on the floor" you know it's true. She carefully avoids turning Cyril into an unloving, controlling monster though: she shows a genuine warmth in her interactions with him and a great patience and acceptance towards his often rude and obnoxious behavior, as well as a profound respect for his craft and ability as a dressmaker. The two actors are both amazing in the scenes depicting the two characters working as they both convey the dedication and commitment Reynolds and Cyril put in their work.
Cyril's relationship with Alma might be even more fascinating. In their first scene together, Manville is terrific at showing how Cyril considers Alma to be little more than a piece of meat - in the way she examines her, Manville perfectly conveys Cyril's utter disregard of Alma as a human being. As the movie progresses, once Alma becomes Reynolds' lover and starts living in their house, Manville subtly and effectively shows how, even if she behaves politely towards her, she still does not hold Alma in high esteem - after all, she is used at seeing Reynolds' lovers coming and going, one after the other. It's not a disdain she feels for her, just a lack of interest in her persona and maybe a little bit of pity as she's fully aware of her brother's unpleasant behavior when someone does not play by his rules, something which Alma isn't keen on doing. Then, in the second half of the movie, Manville is fantastic as she conveys a subtle change of heart in Cyril and a growing respect and admiration for her determination - she is fierce and brutal in the scene in which the two of them clash over what they ought to do when Reynolds falls sick, but at the same time she shows how Cyril begins to see Alma under a different light. In their later moments, Manville subtly shows how Cyril now sees Alma as an equal in terms of intelligence and personality.
This is an amazing performance from Lesley Manville who makes the most out of her character and turns Cyril into a unique and unforgettable character. She spends a lot of time in the background, but her presence is always felt, her eyes always searching, quietly observing and reacting to her surroundings. She works wonderfully with both of her co-stars and adds a lot to the central relationship and the movie itself. It's an outstanding performance that I'm glad wasn't overlooked.
Phantom Thread is a mesmerizing film set in 1950s London about a self-centered, controlling dressmaker whose carefully scheduled life is disrupted by the enigmatic, strong-minded waitress who becomes his muse and lover. An enthralling experience from start to finish, Phantom Thread is a movie in which every single element work in perfect tandem with each other creating an organic, armonic piece. Paul Thomas Anderson's achievement in directing is exemplary - he creates a movie that is stylistically perfect but in which the style never overshadows the substance: it enhances it, creating such an intense atmosphere, simultaneosly bewitching and alienating, that transports the viewer into the movie. It's storytelling at its finest - the story flows naturally and elegantly without any single wasted or superfluous moment yet without rushing any passage either. The bitingly funny and sharply intelligent screenplay, with its original examination on ego and gender roles, should have been far more acknowledged by the award industry, and the same goes to Vicky Krieps' first-rate performance in the leading role.
Lesley Manville's nomination was not a given, but not that much of a shock either: her main competitors for the fifth slot were Holly Hunter and Hong Chau, but the buzz surrounding the former's performance had been fading for a while and the latter, while excellent and supported by both a Golden Globe and a SAG nomination, had the misfortune of starring in one of the biggest disappointments of the year. Manville follows the tradition of a reliably great British character actress getting nominated as soon as she stars in a movie subsceptible to Oscar buzz (not to mention that she was in consideration for a nod in 2010 for her performance in Mike Leigh's Another Year). What makes Manville's nomination surprising is the role of Cyril Woodcock itself: it's not the showiest role in the movie, she is hardly ever the focus of the attention and does not get any typical Oscar-scene - the same can be said for her co-nominee Mary J. Blige but the latter played a more typically Oscar-friendly role, the long-suffering but supportive mother. So it is pretty surprising that the Academy decided to nominate such a reserved performance but it's without a doubt one of the best choices they've made this year: next to Daniel Day-Lewis' and Vicky Krieps' powerhouse performances the role of Cyril could have easily disappeared. If it does not is because Lesley Manville gives a subtly compelling performance that manages to give her realistic depth and personality while never resolving completely the enigma of the character, who remains a fascinating, haunting mystery.
Right from the start of the movie, Manville establishes Cyril as a perfect symbol of efficiency. There is not an ounce of self-doubt or uncertainty in her performance - from the way she walks to her stone-cold expression, everything in her performance feels calculated, studied and almost robotic in a way that is perfectly fitting to the character. Manville effectively portrays Cyril as an extremely, almost brutally pragmatic woman who never lets emotions stand in her way: she imbues her character with the right amount of intelligence, self-confidence and self-control and as soon as she appears in the movie her authority is never in question. There are a lot of unanswered question regarding her - why did she never marry? Does she ever feel lonely or is her job her whole life? Manville's performance never gives answers but they are not needed and there's nothing lacking about the character or her portrayal. The fact that we know so little of her only makes her a more intriguing, fascinating presence. And the movie is commendable for its refusal of turning Cyril into the stereotype of the repressed, embittered spinster that we often see on-screen.
Manville's is a perfect exemple of a supporting performance as she not only creates a memorable and remarkable character on her own right but she also strengthens the leading performances: in fact, Manville shares an excellent chemistry with both of her co-stars and her portrayal of Cyril actually brings further complexity to the central relatioship. In her scenes with Day-Lewis, Manville is amazing at portraying Cyril's subtle ways of manipulating her brother while letting him have the convintion that he is the one making decisions. Cyril does not speak a lot, but Manville makes every line count finding the hidden intention even behind the most meaningless line. She's excellent at showing how Cyril gives orders masking them as suggestions, convincing Reynolds to do what pleases her without making him fully realize the influence and power she has over him. The scene in which she calmly but firmly shuts him down when he tells her to shut up is downright perfection: Manville is fantastic at keeping a seemingly calm tone but her underlying bluntness tolerates no response - and when she says "I'll go right through you and it'll be you who ends up on the floor" you know it's true. She carefully avoids turning Cyril into an unloving, controlling monster though: she shows a genuine warmth in her interactions with him and a great patience and acceptance towards his often rude and obnoxious behavior, as well as a profound respect for his craft and ability as a dressmaker. The two actors are both amazing in the scenes depicting the two characters working as they both convey the dedication and commitment Reynolds and Cyril put in their work.
Cyril's relationship with Alma might be even more fascinating. In their first scene together, Manville is terrific at showing how Cyril considers Alma to be little more than a piece of meat - in the way she examines her, Manville perfectly conveys Cyril's utter disregard of Alma as a human being. As the movie progresses, once Alma becomes Reynolds' lover and starts living in their house, Manville subtly and effectively shows how, even if she behaves politely towards her, she still does not hold Alma in high esteem - after all, she is used at seeing Reynolds' lovers coming and going, one after the other. It's not a disdain she feels for her, just a lack of interest in her persona and maybe a little bit of pity as she's fully aware of her brother's unpleasant behavior when someone does not play by his rules, something which Alma isn't keen on doing. Then, in the second half of the movie, Manville is fantastic as she conveys a subtle change of heart in Cyril and a growing respect and admiration for her determination - she is fierce and brutal in the scene in which the two of them clash over what they ought to do when Reynolds falls sick, but at the same time she shows how Cyril begins to see Alma under a different light. In their later moments, Manville subtly shows how Cyril now sees Alma as an equal in terms of intelligence and personality.
This is an amazing performance from Lesley Manville who makes the most out of her character and turns Cyril into a unique and unforgettable character. She spends a lot of time in the background, but her presence is always felt, her eyes always searching, quietly observing and reacting to her surroundings. She works wonderfully with both of her co-stars and adds a lot to the central relationship and the movie itself. It's an outstanding performance that I'm glad wasn't overlooked.
5/5
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