On a technical level it’s near flawless. Every shot is
impeccably, immaculately conceived and rendered. But this is to be expected
from writer-director Paul Thomas Anderson. He’s a filmmaker’s filmmaker.
Anderson has never shied away from tackling subject matter
that’s … well, different. His breakout film was 1997’s Boogie Nights, a film about a porn patriarch.
The Master tells
the story of Freddie Quell (Joaquin Phoenix), a disturbed WWII veteran, who’s
won over by the charismatic Lancaster Dodd (Phillip Seymour Hoffman),
frequently called the Master.
Freddie is leading an aimless life after returning home from the war and finding it hard to adjust to post-war society. Bored at work, sexually frustrated, and taking pleasure in nothing but making and drinking alcohol, he’s always on the verge of bursting out in fits of rage.
Freddie is leading an aimless life after returning home from the war and finding it hard to adjust to post-war society. Bored at work, sexually frustrated, and taking pleasure in nothing but making and drinking alcohol, he’s always on the verge of bursting out in fits of rage.
Lancaster, a magnetic orator, sees how easily manipulated
Freddie can be and converts him to his following. At least, that’s one
interpretation. The Master’s son Val (Jesse Plemons – in some spot on casting)
believes that the man is making it up as he goes along and doesn’t actually
believe in anything he’s saying; something that he tells Freddie, which deeply
unsettles him. One skeptic describes Dodd's religious movement, “The Cause”, as a
cult, and it does bear a resemblance to a cult at times.
But perhaps the Master does believe in the seeming pseudo-science
of spirits time traveling (Though I personally didn’t interpret the film that
way).
Whatever the case may be, Dodd immediately takes a liking to
Freddie, who he claims to see something in (what exactly that might be is never
made completely clear). Or maybe he simply feels bad for Freddie, who’s
mentally unsound and not the brightest of the bunch to boot.
In either instance, Freddie’s drinking problems become
untenable. He makes his own drinks filled with odd concoctions such as paint
thinner (he accidentally kills a person at one point). The Master’s wife (Amy
Adams) becomes fearful of the situation. He keeps attacking people who question
Dodd’s work and teachings. The members of “The Cause” try to rehabilitate
Freddie, but it doesn’t work, and soon after they’re forced to cut ties.
Whether you find this too strange to enjoy, there’s no
denying the film is filled with great performances. Joaquin Phoenix is completely unhinged
as Freddie, perpetually crooked smiled, mumbling most of what he says in a low growl . Phillip Seymour Hoffman is a sight to behold as Lancaster; he’s so calm and charismatic
that at times it’s hard not to buy into his philosophical propositions, no
matter how unfounded.
On top of this, the film is beautifully shot and visually striking, which often makes up for how its plotting is occasionally haphazard, leaving something to be desired.
On top of this, the film is beautifully shot and visually striking, which often makes up for how its plotting is occasionally haphazard, leaving something to be desired.
A challenging, dense, enigmatic movie that's certainly not for everyone.
Grade: B+
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