It’s been almost eight years since Daniel Day-Lewis announced his retirement. Call it denial, but I never believed that Phantom Thread would be Day-Lewis’ swan song. Day-Lewis has often taken extended breaks from acting. He even retired once before between The Boxer and Gangs of New York. While this has been the lengthiest gap in his filmography, it was only a matter of time until another project pulled Day-Lewis back in. Would it come from Paul Thomas Anderson or Martin Scorsese? In a surprising (and not at all surprising) move, Day-Lewis’ son is the one who brought his father out of retirement.
Ronan Day-Lewis directs Anemone, which he also co-wrote with his dad. The elder Day-Lewis stars as Ray Stoker, a hermit who resides in a remote shack concealed among the trees. He cut himself off from society following a traumatic experience years earlier, leaving behind a now-teenage son named Brian (Samuel Bottomley) and his mother Nessa (Samantha Morton). Brother Jem (Sean Bean) assumed Ray’s position in his absence. As Brian begins to repeat his father’s pattern of violent behavior, Jem feels it’s time for Ray to return. He finds Ray, who remains as reserved as the film we’re watching.
Ray fears repeating the cycle of abuse that stretches back to his own childhood. Although he resents his old man, Ray plants Anemone flowers like his father before him. No matter where Ray hides, he can’t escape his haunting past or the responsibilities he’s denied for too long. This premise almost sounds like a meta commentary on Day-Lewis’ temporary retirement. For years, cinephiles have wanted Day-Lewis to make a comeback. Day-Lewis finally relented for the sake of his son. Yet, Daniel and Ronan’s dynamic behind the camera is more fascinating than the one between Ray and Brian in front of it.
Much of the film hinges on the father and son reuniting. However, we learn little about Brian beyond the fact that he’s a troubled young man. Anemone is cold and distant by design, which would be alright if there were an emotional thread pulling us through. When Ray and his son inevitably come face to face, though, it’s not as satisfying as the filmmakers seemingly think. The real heart of this story lies in the stellar performances between Day-Lewis and Bean, the latter of whom never gets as much credit as he deserves. In an understated supporting performance, Bean provides a moral center as a man trying to mend his broken family. He can’t do it alone.
Of course, audiences are mainly here for Day-Lewis. No surprise, he’s still got it, delivering not just one, but two monologues that seem perfectly tailored for his Oscar clip. Bobby Krlic’s atmospheric score does much of the communicating in a film that goes long stretches without any dialogue. Even if you were to hit the mute button, though, simply watching Day-Lewis’ face takes us on a journey. Anemone is slow and not always the most rewarding film. Still, as a showcase for Ronan’s visual eye and Daniel’s unparalleled skills as a performer, something worthwhile ultimately blooms.