As There Will Be Blood turns 15, justbrizigs looks back at the 'I drink your milkshake' scene, and what it has to say about how Paul Thomas Anderson weaves comedy into his work:
chronicles the epic rise to power of Daniel Plainview, a silver miner turned oil tycoon in late 19th century and early 20th century Southern California. His tragic story of ruthless greed and seclusion estranges him from the adopted son he inadvertently deafens and subsequently abandons, bankrupts him morally and leaves him alone, drunk and bitter in a neglected and empty mansion. In the film’s final moments, Daniel is visited by Eli Sunday at his home.
Eli had agreed to sell his land to Daniel under the agreement that Daniel give Sunday $10,000 for his church and allow him to bless the well before the drilling commenced. Daniel refused the blessing, and the site subsequently befell a series of misfortunes. Now with the upper hand, Daniel accepts Eli’s new offer under the condition that Eli denounce his faith and admit that he’s a fraud, payback for having humiliated Daniel during a public repenting.
Day-Lewis’ performance in the scene is at once terrifying and hysterical, highlighting the degree to which Plainview has forgone his humanity and the potential for meaningful relationships with others—even contentious former associates in need of dire help—in favor of petty, materialistic revenge to further prove his business acumen. His mansion has been paid for with blood money, and it stands as a monument to the emptiness of wealth.
But one of the most rewarding things about Anderson’s rich work is that his dense, sprawling, formally impressive films are often, well, kind of silly. His films feature toilet humor, performances and bits bordering on slapstick and overarching themes akin to barely concealed dick jokes. On subsequent watches, the less obvious humor reveals itself a little more each time. It’s what makesone of Anderson’s most comically rewarding films on every revisit.
Brianna Zigler is an entertainment writer based in middle-of-nowhere Massachusetts. Her work has appeared at Little White Lies, Film School Rejects, Thrillist, Bright Wall/Dark Room and more, and she writes a bi-monthly newsletter called
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