THE MASTER
I unfortunately did not get to see Paul Thomas Anderson's The Master on its original November 2012 release, but was I was eventually able to finally watch it. The Master is a complex and slow film, beautifully shot, and filled with impeccable performances.
The film has had a fair amount of attention in regards to its parallels with Scientology. While they may be evident in certain elements of the film, I feel they take a backseat to the more central story of Freddie Quell, played ferociously by Joaquin Phoenix. Freddie is insane, we get this from the very first time we see him. He is hyper-sexual, fondling a woman made of sand on the beach, and hyper-violent; snapping at the slightest provocation. He is a WWII veteran, despondent after the war's end, until he wanders onto the yacht of the enigmatic Lancaster Dodd (Philip Seymour Hoffman).
Hoffman is intriguing as the charismatic Dodd; although a strong performance from the actor is almost a given in every movie he appears in. He is a PTA regular, and his performance is subtle and nuanced, allowing the audience to see that maybe he himself doubts the Cause. He is intrigued by Freddie, as he tells him that "he is the only one who likes him"; and sees beyond the wildness and bizarreness a man who can be moulded to serve the Cause, and perhaps himself.
The film has had a fair amount of attention in regards to its parallels with Scientology. While they may be evident in certain elements of the film, I feel they take a backseat to the more central story of Freddie Quell, played ferociously by Joaquin Phoenix. Freddie is insane, we get this from the very first time we see him. He is hyper-sexual, fondling a woman made of sand on the beach, and hyper-violent; snapping at the slightest provocation. He is a WWII veteran, despondent after the war's end, until he wanders onto the yacht of the enigmatic Lancaster Dodd (Philip Seymour Hoffman).
Hoffman is intriguing as the charismatic Dodd; although a strong performance from the actor is almost a given in every movie he appears in. He is a PTA regular, and his performance is subtle and nuanced, allowing the audience to see that maybe he himself doubts the Cause. He is intrigued by Freddie, as he tells him that "he is the only one who likes him"; and sees beyond the wildness and bizarreness a man who can be moulded to serve the Cause, and perhaps himself.
Amy Adams plays Dodd's wife, Peggy, in a powerful performance. We see that she is probably the only person who can influence Dodd, and sees a threat in Freddie that perhaps the "Master" does not. As the film progresses we see Freddie gradually grow to the Cause more and more, but his alcoholism and volatile behaviour hinder him from truly following it properly. He is extremely violent, attacking detractors of Dodd several times throughout the film, and even attacking policemen when they come to arrest Dodd for tax evasion. This leads to one of the film's most intriguing moments; essentially the confrontation. Freddie does not handle being locked up well, and as he destroys his cell Dodd iterates that he is in a cage, and that his fear of being locked up his not his own, but rather that of one of his previous lives. Freddie and Dodd later reconcile, but we still feel as if Freddie has not fully adopted the Cause.
He eventually leaves on his own accord, and when he finds out that his beloved Doris has married and left, he receives a phone call from Dodd, proclaiming that he is in England and that Freddie must come there. Freddie arrives in England and finds Dodd, who gives him an ultimatum: stay with the Cause and dedicate himself to it for the rest of his life, or leave. Dodd finally begins to see his wife's fear about Freddie, who voluntarily leaves. He says he hopes to meet Dodd in another life; but the Master bitterly replies that they will be sworn enemies in the next life. After he has left, Freddie has sex with a woman in a pub and recites the first questions asked to him by Dodd earlier in the film.
He eventually leaves on his own accord, and when he finds out that his beloved Doris has married and left, he receives a phone call from Dodd, proclaiming that he is in England and that Freddie must come there. Freddie arrives in England and finds Dodd, who gives him an ultimatum: stay with the Cause and dedicate himself to it for the rest of his life, or leave. Dodd finally begins to see his wife's fear about Freddie, who voluntarily leaves. He says he hopes to meet Dodd in another life; but the Master bitterly replies that they will be sworn enemies in the next life. After he has left, Freddie has sex with a woman in a pub and recites the first questions asked to him by Dodd earlier in the film.
So what does all this mean? It would be safe to say that The Master is one of those films that must be watched more than once to truly understand. The film is the director's least accessible; a artfully crafted puzzle that takes heavy analysis to really get what is going on. Anderson challenges the audience to not so much think about Scientology and cults, but themselves. It is not a criticism of any particular religion, but more so an examination of how a strange man like Freddie struggles to fit into a society that he simply cannot. There is a pervading sense of paranoia around the film, particularly from Phoenix' deranged performance. Freddie is volatile, we as the audience do not know what he is going to do next. Anderson once again reunites with Johnny Greenwood, who provides another intriguing score to the film, as he did with There Will Be Blood.
The Master is not a film everybody will get, some may not understand it after many viewings, and it is a slowly methodical film. There is little action, apart from when Freddie attacks, but the visual splendour with The Master comes from its beautiful cinematography and stunning setpieces. I personally enjoyed it; it is a tough film to understand, and an even tougher one to critique, as interpretation of it is all selective.
The Verdict: While it is PTA's least accessible film, The Master is also the director's most introspective, brimming with stellar performances and beautiful cinematography that benefits from repeat viewing.
The Master is not a film everybody will get, some may not understand it after many viewings, and it is a slowly methodical film. There is little action, apart from when Freddie attacks, but the visual splendour with The Master comes from its beautiful cinematography and stunning setpieces. I personally enjoyed it; it is a tough film to understand, and an even tougher one to critique, as interpretation of it is all selective.
The Verdict: While it is PTA's least accessible film, The Master is also the director's most introspective, brimming with stellar performances and beautiful cinematography that benefits from repeat viewing.
★★★★
4/5
4/5