Nú summar er, og vit aftur seta oljuna á breddan og halda fram at starva við oligarkar, hevur tíðarritið Rolling Stone gjørt ein lista við hundrað teim bestu filmum í ein og tjúgindu øld. Suðurkoreanska stættasøgan, "Parasite" (Bong Joon-ho 2019), ið New York Times í somu ørindum fyrr í summar fekk at verða hina bestu, er í hesum føri nummar fýra. Fremstur og bestur, ið ruddar alt av vegnum, er náðileysa amerikanska oljusøgan um nýríka Plainview og tvíburðarnar Sunday, Paul og Eli, hin seinni við kirkjuni, hann selur oljufikseraða nýlinginum - "There will be blood" (Paul Thomas Anderson 2007).
Ein filmur beint eftir mínum hjarta.
Ummælarin, Alex
A. Dowd, sum er úr Chicago, og limur í National Society of Film Critics í USA, eigur
lýsingina av aldarinnar filmi, sambært redaktiónini á Rolling Stone.
Endasetningurin
í ummælinum, ið er sum skaptur til eina pallseting av vinstravonginum í
Føroyum, ljóðar: "What could be more relevant to the 21st century than a drama
about a vampiric capitalist, coming as a creator and leaving as a destroyer?"
Innan henda púra fiktiva og ópolitiska karm, er lýsingin av heimsins
besta biograffilmi í ein og tjúgindu øld soljóðandi:
“Paul
Thomas Anderson’s origin story of American avarice towers like a derrick over
our new millennium, its shadow as imposing as the silhouette mad oil baron
Daniel Plainview casts upon his own era. Right from a primeval opening stretch
in the bowels of New Mexico, it’s clear that the writer-director means to
connect one turn of the century to another, building a long pipeline across
cinema history. The wordless determination of a man carving his destiny from
the rock evokes the majesty of early movies, as do the expressive close-ups of
Plainview’s furious face - which is to say, of the magnificently mustached and
stony countenance of a different driven Daniel (Day-Lewis). There are also
echoes of Kubrick, Malick and Giant, which happened to be shot on the same
unforgiving Texas plains; even the vindictive ramble through an old manor that
ends the movie brings to mind Charles Foster Kane. That you can mention
Plainview in the same breath as that composite Great Man is a testament to how
close Anderson came, in his own wild entrepreneurial ambition, to achieving the
fabled ideal of the Great American Movie.
Yes, Blood
has the scale of an Old or New Hollywood epic, precious to a present not
exactly gushing with grand visions. But it also has a jagged modern soul,
bursting free in the form of Johnny Greenwood’s atonally clicking score or
whenever Day-Lewis is spewing contempt in pressurized, shockingly funny,
Oscar-winning geysers of invective. (The milkshake jokes got old fast, but the
climactic verbal vengeance that inspired them sure didn’t.) Though loosely
pulled from the pages of Upton Sinclair, this staggering character study of
greed incarnate is miles removed from tasteful literary reverence, and Anderson
never lets his aspirations to make something weighty and classical blot out his
idiosyncratic imagination - the very same that dreamt up a plague of frogs in
his final epic from the previous century. Maybe the movie truly endures because
its portrait of way back then has twisted, with disturbing inevitability, into
a prophecy of right now. What could be more relevant to the 21st century than a
drama about a vampiric capitalist, coming as a creator and leaving as a
destroyer?” (A.A.D Rolling Stone)