Dysfunctional Relationships: Anima & Animus
The Phantom Thread is an interesting psychological analysis into the pathological parent-child relationship between Reynolds and Alma, personifying two psychologically immature individuals. It is an exposé on the prevailing and ubiquitous damaged psyche prevalent in contemporary society. Its subtlety is in its period piece, as it masquerades this modern-day phenomenon under the guise of 20th century idiosyncrasy.
The narrative unfolds as we see Reynold's meticulous lifestyle. His house is tidy, clean, and orderly. It offers no surprises, for he is a man who seeks to eliminate the haphazard element from his life. He is single, and gives off an aura of femininity. As the narrative unfolds, the audience sees that he is overly selfish, putting his work above everything else, and often times behaves in a capricious manner, like a child. With Alma, he does not wish to admit that she may have desires of her own, as well as needs. By hiding his emotions from Alma, and ignoring her needs for attention, he dooms the potential for a healthy dynamic between the two. This reinforces the tone of the mother-child relationship which their initial encounter was predicated on (Alma writing "my hungry little boy" on the note).
What is interesting about the main character, is that despite his status and wealth, he does not have his own residence. His mansion is rented for him by one of his clients, alluding again to his immaturity (men living with parents longer than before, delaying adulthood and responsibility). We see more hints at Reynold's immaturity as the film never indicates that the couple have sex. If we view their relationship based on that of mother (Alma) and son (Reynolds), then it becomes obvious as to why.
As Reynolds reveals himself, Alma does not see him as a real man, but as a child, needing her caring maternal instinct. Reynolds, in return, does not see a woman in Alma, but as his mother. In some instances, we see his inner father awakened, as his mannerisms shift from meek to assertive (e.g., when Alma acts like a child at the table, interrupting his organized environment; or when she goes to the dance without his approval).
The male energy represented by his animus (inner masculinity) is not manifested. This is symbolized by his surroundings (note the absence of any men in the film). He does not know how to engage with men, because he is afraid of them. Furthermore, Reynolds is held back by his anima (inner femininity). This is indicated through his inability to create a dress without the presence of a suitable woman. In order to overcome this ineptitude, he then meets Alma, whose anima reactivates his child-like persona. As we see, all he needs is to be fed and protected. When he feels safe, much like a child, he is able to invest himself fully into his creative craft.
But what becomes interesting is the type of mother he chooses to fulfill this role. Alma is shown as emotionally cold and asexual or sexually immature. There is no conventional intimacy between the two. Alma's maternal instincts culminate in eventually poisoning Reynolds with mushrooms, in order to completely control Reynolds, her "helpless baby." She is also shown acting like a rebellious child who disregards Reynold's attempts at controlling her and continues to do what she wants. Just like how the inner man is not manifested in Reynolds, so too, is Alma's inner woman not manifested. We see this by her lack of sexuality, as she does not know her body, is unable to dress herself like a woman, or even do her make-up well. The film presents Alma as shifting between these two personality types (mother & child).
In the end, Reynolds and Alma come to terms with the reality of their relationship, as well as its foundation. They accept their roles as mother and child, and continue with their psychological immaturity, never growing to become complete versions of man and woman.