17 February 2008 @ 01:28 am
There Will Be Blood postscript  






Regarding my far-too-long analysis of Daniel Plainview, protagonist of There Will Be Blood, reader Bill Willingham has written in with a perceptive analysis of his own, which I'm bumping up from its original placement because I think there is much good in it. His comments are bold italics, mine are regular old Verdana.


I ... got the notion that DP was abused as a child and actually struck out against his own father and family. And what he’s wanted ever since is two related things: First to outdo his father in every way; to succeed much better than his dad could ever imagine. At first it was a child’s version of “doing better than father” which could only be articulated by his dream of someday being able to own the really great house in Fon du Lac, Wisconsin, because his father never could get them such a nice house. The second desire is to have a better, perfect family than the one his father created; a family totally loyal to him (DP) as the head. Absolute loyalty is a requirement to be part of DP’s idealized family.

After I posted the last part of my analysis, it occurred to me that a lot of DP's actions can be boiled down to father issues. The ghost of DP's absent father hangs like a shroud over the whole movie -- it explains his need to break away from society, his need to prove himself, his need to build his own (artificial) family, his demand for absolute loyalty, his intolerance of prevarication and subterfuge (except his own). When Eli tries to become Daniel's "Father" by inducting him into the church, it's more than he can bear, and responds by killing him, thus killing his own father. Then he's "finished."

I saw the “working alone in the silver mine hole” as a demonstration that DP is a broken man anytime he’s alone, breaking a leg in this case (but now I think you pegged it better with each dig requiring it’s own sacrifice – and even laying out the pipeline to the sea require the death of Henry). DP only really becomes successful when he inherits his son HW. And HW is the perfect son, a real DP in training, and I think DP was authentically devoted to him in his twisted, broken way. He proudly tells all that HW is his full partner, and I believe it’s true. He uses HW as a tool to close deals, which to DP is the highest honor HW could rise to. Using HW that way isn’t cynical, it’s raising his son almost to the level as his equal. And he shows real admiration for HW when HW discovers the oil on Sunday’s land.

This is what makes me suspect that the movie isn't "about" Bush and Cheney, regardless of what some critics would have you believe. DP works for his money, produces an actual product and loves his adopted son, while Bush and Cheney were born wealthy and love nothing but power.

DP moves to make his family even better, and reward his good son, by getting Mary for him. Mary is given a new fine dress. DP names the oil derrick after Mary. Mary is going to join with HW and provide the avenue to increasing DP’s family, which DP can’t do for himself.

I agree that the well in Little Boston is an opportunity for DP to create a family, but I don't know if he's thinking of Mary as a reward for HW -- unless of course he's thinking that, if Mary is HW's mate, then he can have sexual relations with a woman, vicariously, through his son.

Then HW gets broken and he has to go. I think the scene when HW is injured when the gusher comes in is most telling. DP’s first instinct is to rescue his beloved son – saving his better family (better than the one he left back in Wisconsin) – but he doesn’t stay with his son, pulled by the allure of the well, which supplies his other need to outdo his father.

This makes good psychological sense to me, that a man would stay by his son to prove he's a better man than his father, but then also be torn (and damned) by his desire to be wealthier than his father.

HW is replaced (just in time as you noted) by Henry, the brother. Once again DP has a chance at his ideal family and takes Henry on as his partner. Together they map out the route of the oil pipeline to the sea – an honor only a family member could share with DP, because the pipeline is the current embodiment of “how DP is more successful than dad.”

This is where I think Fletcher Hamilton becomes an interesting character. He says "Are you taking Henry with you to see Union?" when what he means is "Hey, I've been with you since the beginning, aren't I more your brother than this stranger who just showed up?"

Then Henry is proved false and has to go. HW comes back, partially fixed and regains his place as DP’s better (than dad’s) family. This works for some time and HW even marries Mary.

But then HW decides to strike out on his own, starting his own company, and basically starting his own separate family. That can’t be endured and so HW is denounced again and for the final time as another false relation – the worst thing anyone could be in DP’s world.

Finally Eli comes back into DP’s world and makes a fatal mistake by trying to stake a claim – something he pleads over and over in the scene – as family with DP. Since at this point DP can’t tolerate another false family pretender, Eli has to die.

It was never greed driving DP, as evidenced by how much he disdained his own wealth, shooting up his own mansion and such. He never needed the stuff of wealth. He never once drove a fancy car and even when he could afford a soft bed he slept on the floor.

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e[info]mimitabu on February 17th, 2008 01:35 pm (UTC)
part 1--i'm sorry i can't apply the standards of economic writing to blog replies
i think that willingham's analysis makes a lot of sense, but it leaves unanswered a very puzzling and (to me) interesting question. why does DP kill his false brothers?

the standard response seems to be a psychological one about intimacy, going along with his "i hate people" speech and the vacuum of his sex life. the response goes, more or less: "daniel let them in, but found out they were lying to him, so he killed them". here, HW is, i suppose, metaphorically killed by being sent away, and henry is of course flat out killed.

but what about eli? he is in no way intimate with DP, and (though a conman who recognizes a fellow) really doesn't know anything about DP that anyone else doesn't know.

is henry killed for getting too close, and then eli killed for, unrelatedly in terms of direct causes, pretending to be DP's father/brother? is making DP yell "i've abandoned my son" somehow as deep an intimacy as DP willfully opening up to henry? would DP kill a guy just for asking for money? those answers don't ring true to me.

i'm not particularly saying that eli's death is mysterious (to me it is, but)... i'm just saying that the easier frameworks into which one would throw HW's being sent away and henry's death don't seem to accomodate eli's death (for whatever reason it happened)--and maybe they should. i'm not talking psychology here, but (can't get the right words so i'll try) narrative construction. these 3 (lots of 3s in the movie) events happen in this movie: son/brother/partner sent away, brother/partner murdered, brother/nephew/father/competitor murdered. what is the link? what do these say about each other?

if the 3 events need to fit into a framework, eli's death problematizes the first 2 events (the word 'problematize' came out of my fingers, i flashed back to grad school, and my stomach lurched... but damnit it's the right word). the initial reason that drove me to think this is that DP doesn't need to kill eli. he doesn't need to kill him to crush him (eli is soundly defeated before he's pinned). he doesn't need to kill him to reject him as false family (HW isn't killed, and insofar as HW is "killed" metaphorically, eli is just as "killed" by the talk of paul and the "god is a superstition" bit). he doesn't need to kill him to illustrate that DP is "a passionate man who acts on impulse" (because he's not!). if BROTHER is the link between the 3 events, DP needn't kill eli to establish this link, because he doesn't kill HW. yet in killing eli, a trilogy of events is formed. if eli's death (as death) doesn't make sense when the reason given for it makes sense for henry's death, maybe henry's death isn't for the easy "he got too close" psychological reason.

i guess i'm saying that i'm more drawn to your "he kills his family because he was put here to do it" reading than a "he surpasses his father" reading, because i can't get with "Since at this point DP can’t tolerate another false family pretender, Eli has to die". death is too specific a thing to just be the incidental manifestation of "i can't tolerate this" or "too many faux family members, not enough 100% loyal family members" especially since after he kills eli, he's finished. what is that about? it's a beautiful, well-delivered, polyvocal line, but there's another meaning besides "done with the steak" "done with the movie" "i'm going to lose it all b/c i just blatantly committed murder" that has to relate to why he killed eli, and i can't quite get at it. and if i can't get at that, the more interesting question (if it turns out to need asking) is "then why did he kill henry?"
e[info]mimitabu on February 17th, 2008 01:38 pm (UTC)
part 2


and if the reason for eli's death complicates the easy pop-psych reason for henry's death, it also complicates fletcher hamilton's relationship with DP, because why can't he be DP's brother/partner? if "DP is afraid of intimacy; he'll keep loyal guys like fletcher around, as long as they don't get 'too close' because he's so vulnerable when people get close that he gets mad enough to kill when hurt!" doesn't fly anymore, what's wrong with fletcher? he's loyal. he's not judgmental. is it that he's after money, and DP knows this? does DP require a certain motivation of his brothers/false-brothers that cannot be financial? how are HW and henry (and eli?) alike that fletcher is not?

loads of interesting stuff in this movie, i can't tease it all out. for what it's worth, weirdly, i'm more and more drawn to a reading of the movie that sets up 2 opposing ways of existing: working-or-doing, and thinking-or-talking. DP likes life with the former, hates it with the latter. seems simple at first, but i think it expands if it somehow provides a framework that makes sense of stuff like people being murdered or accepted/rejected as family.

---

sorry it's so long. the short version is: eli's death is weird, made so by its apparent needlessness and by the strong, blatant assertion the movie makes of "see this murder? it has an awful lot to do with HW and henry because of the broad stroke painted relationship parallels, and a lot to do with DP's whole trajectory/motivation because he flat out said 'i'm finished' after doing it."

also, some weird stuff about work/speech.
Todd Alcott[info]toddalcott on February 17th, 2008 07:48 pm (UTC)
Re: part 2
I agree that DP would rather not speak if he can avoid it, however, my wife pointed out that speech is his disguise. He speaks of family and friendship and community, but his actions are all in the opposite direction. I think HW has to go away because without speech, DP is too obviously a monster.

For myself, I'm just glad that we live in a time when, against all currents, a movie like this got made. Time was there would be six or seven meaty, challenging movies like this come out every year.
r_sikoryak[info]r_sikoryak on March 2nd, 2008 08:40 am (UTC)
Just saw the movie and read all your posts.
Here's one last thought:

"I'm finished" instantly reminded me of Christ's "It is finished."
r_sikoryak[info]r_sikoryak on March 2nd, 2008 02:28 pm (UTC)
And Christ has finished his Father's business.