What defined Paul Thomas Anderson as a filmmaker early in his career was his ability and ambition at such a young age. Upon the release of Hard Eight in 1996, a 26-year-old Anderson was already preparing his breakthrough opus, Boogie Nights, a film that would see him immediately and often compared to his idols, Robert Altman and Martin Scorsese. Instead of flaming out like Orson Welles, Anderson has developed from a mere wunderkind to a singular voice playing in the sandbox big themes: love, self-destruction, family and death.
Perhaps most astounding is his recent creation of Daniel Plainview, a man who stands alone in There Will Be Blood but also in the larger context of Anderson’s oeuvre. His misanthropic use of Manifest Destiny ends up eating him alive. Plainview embodies the direct consequence of not finding an outlet for love, a vacant man left only to gasp, “I’m finished.” If Blood is any indication, Anderson is only at the beginning of a new phase in his career, exploring scope through the use of restraint.
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