The Master (B or 3/4 stars)
It has been acknowledged by Paul Thomas Anderson that the real-life creator of Scientology was an inspiration for the fictional character of Lancaster Dodd (Philip Seymour Hoffman) in this, his film: 'The Master'. Many have speculated that 'The Master' is a flat-out expose of Scientology. But this isn't so. While there are similarities between the real religion & the fictitious cult here (referred to as 'The Cause'), this film - which mostly takes place in the 1950s - is not about the development of a cult organization. In fact, the film mostly focuses on wayward soul, Freddie Quell (Joaquin Phoenix), a veteran who has been psychologically damaged by both his tumultuous youth, as well as his participation in WWII.
Freddy joins Lancaster Dodd's group of fanatical followers after he drunkenly stumbles aboard a yacht where "The Master" is presiding over the marriage of his daughter to a fellow true believer. Having impressed Lancaster with his vulnerability, as well as a fascinating moonshine concoction, Freddie quickly rises through the ranks, becoming Lancaster Dodd's right-hand man & test subject; but his problems - acute alcoholism & a deeply-embedded temper - are ultimately not fixed by Dodd's hokum-psychology. Freddie remains a disturbed individual & Dodd's inability to cure him causes several people in The Master's inner circle, including his seemingly sweet wife (Amy Adams), to question whether Freddie should be cast out of their cult.
Most of 'The Master' is about the dynamic btwn. Freddie & Lancaster. Lancaster's influence on the mentally fragile Freddie is profound (early on). However, Freddie's sole impact on Lancaster is to represent a failure of The Master's "process" and, as such, someone best discarded (at the Amy Adams's behests). Many of the 1-on-1 scenes with Phoenix & Hoffman crackle with energy. i.e., Lancaster's initial questioning/auditing of Freddie (where Freddie must answer of series of personal questions without blinking) is amazing. And there's also a compelling scene where both men react to their situation in a jail cell.
I think PT Anderson's intent of this film is a condemnation of religious cults; illustrating the flawed foundation upon which "The Cause" is built. At a lavish dinner party in NYC, one character accuses Lancaster of "making this up as he goes along". In a late scene, a follower (Laura Dern) questions why Lancaster is suddenly changing his figurative tune. And in the final scene, we see that: most people are better off when freed from following a charismatic, but compulsive leader/dictator.
'The Master' offers great character interaction, but lacks in character development. We learn nothing about Lancaster's past & don't get a sense of whether he believes all he says. Sure, we see his strong powers of persuasion, & we see his occasional fits of rage/frustration. But there are times when he seems to be his wife's puppet & other times when he dismisses her. His characterization is vague. We understand Freddie a bit better because we see his back story. But he has these dream sequences that intermix with reality and, at times, we're not sure what's real & what isn't. i.e., an eye-opening "nude party" that seems to be in Freddie's mind. But then, when it comes to Freddie's 2nd visit to the home of his 16 yr. old ex-girlfriend, we're not sure if it's real or a dream. Therefore, it's even harder to connect with the characters if one is given no back story, & the other is a sick, drunken mess who goes in & out of reality.
Joaquin Phoenix, to portray Freddie, undergoes a jarring physical transformation: gaunt, bony, sickly, stooped shoulders, et al. Phoenix buries himself in Freddie's persona; and the best part of the performance is that - while there is a tendency with a role like this is to go over-the-top - Phoenix stays mostly contained, only losing control when the situation calls for it. And it's that restrain/explosive execution that is so impressive, here. PS Hoffman is excellent, as he always is. And Amy Adams' interpretation of Dodd's 'exists in the shadows' wife is suitably creepy. There is more to her than meets the eye. She plays her scenes with a quiet intensity that surprises you by the time certain scenes are over. And though she isn't given much material to work with, her disturbing Lady Macbeth-like portrayal resonates.
'The Master' is one of THOSE films that is too hard to call after one viewing, and yet, you may not want to re-visit again. It's an art film: thought-provoking, carefully composed, ponderoussss. That's okay if you're given a riveting narrative/deep characterization to chew on. But my major issue with this otherwise exceptionally made, superbly acted film is that: as it progresses, you realize that you probably won't get that necessary emotional link to anyone or anything onscreen. I mean, technically, it is a wonder to watch. Filmed in 65mm cinematography (last used in 1992 for Far & Away & in 1996 for Hamlet), the visions we see onscreen have a vivid quality that are as pristine as you've ever seen. It's gorgeous. I just wish the storytelling weren't as clinical & emotionally distancing as it is.
Freddy joins Lancaster Dodd's group of fanatical followers after he drunkenly stumbles aboard a yacht where "The Master" is presiding over the marriage of his daughter to a fellow true believer. Having impressed Lancaster with his vulnerability, as well as a fascinating moonshine concoction, Freddie quickly rises through the ranks, becoming Lancaster Dodd's right-hand man & test subject; but his problems - acute alcoholism & a deeply-embedded temper - are ultimately not fixed by Dodd's hokum-psychology. Freddie remains a disturbed individual & Dodd's inability to cure him causes several people in The Master's inner circle, including his seemingly sweet wife (Amy Adams), to question whether Freddie should be cast out of their cult.
Most of 'The Master' is about the dynamic btwn. Freddie & Lancaster. Lancaster's influence on the mentally fragile Freddie is profound (early on). However, Freddie's sole impact on Lancaster is to represent a failure of The Master's "process" and, as such, someone best discarded (at the Amy Adams's behests). Many of the 1-on-1 scenes with Phoenix & Hoffman crackle with energy. i.e., Lancaster's initial questioning/auditing of Freddie (where Freddie must answer of series of personal questions without blinking) is amazing. And there's also a compelling scene where both men react to their situation in a jail cell.
I think PT Anderson's intent of this film is a condemnation of religious cults; illustrating the flawed foundation upon which "The Cause" is built. At a lavish dinner party in NYC, one character accuses Lancaster of "making this up as he goes along". In a late scene, a follower (Laura Dern) questions why Lancaster is suddenly changing his figurative tune. And in the final scene, we see that: most people are better off when freed from following a charismatic, but compulsive leader/dictator.
'The Master' offers great character interaction, but lacks in character development. We learn nothing about Lancaster's past & don't get a sense of whether he believes all he says. Sure, we see his strong powers of persuasion, & we see his occasional fits of rage/frustration. But there are times when he seems to be his wife's puppet & other times when he dismisses her. His characterization is vague. We understand Freddie a bit better because we see his back story. But he has these dream sequences that intermix with reality and, at times, we're not sure what's real & what isn't. i.e., an eye-opening "nude party" that seems to be in Freddie's mind. But then, when it comes to Freddie's 2nd visit to the home of his 16 yr. old ex-girlfriend, we're not sure if it's real or a dream. Therefore, it's even harder to connect with the characters if one is given no back story, & the other is a sick, drunken mess who goes in & out of reality.
Joaquin Phoenix, to portray Freddie, undergoes a jarring physical transformation: gaunt, bony, sickly, stooped shoulders, et al. Phoenix buries himself in Freddie's persona; and the best part of the performance is that - while there is a tendency with a role like this is to go over-the-top - Phoenix stays mostly contained, only losing control when the situation calls for it. And it's that restrain/explosive execution that is so impressive, here. PS Hoffman is excellent, as he always is. And Amy Adams' interpretation of Dodd's 'exists in the shadows' wife is suitably creepy. There is more to her than meets the eye. She plays her scenes with a quiet intensity that surprises you by the time certain scenes are over. And though she isn't given much material to work with, her disturbing Lady Macbeth-like portrayal resonates.
'The Master' is one of THOSE films that is too hard to call after one viewing, and yet, you may not want to re-visit again. It's an art film: thought-provoking, carefully composed, ponderoussss. That's okay if you're given a riveting narrative/deep characterization to chew on. But my major issue with this otherwise exceptionally made, superbly acted film is that: as it progresses, you realize that you probably won't get that necessary emotional link to anyone or anything onscreen. I mean, technically, it is a wonder to watch. Filmed in 65mm cinematography (last used in 1992 for Far & Away & in 1996 for Hamlet), the visions we see onscreen have a vivid quality that are as pristine as you've ever seen. It's gorgeous. I just wish the storytelling weren't as clinical & emotionally distancing as it is.