Paul Thomas Anderson’s “The Master” is a movie I will be
thinking about for a long time now that I have seen it. Like the
writer/director’s previous films, it is mesmerizing in its visual powers and
features some of the most emotionally raw acting you will see in any film this
decade. I think it is also intentionally meant to leave a lot of questions
unanswered as the movie follows the relationship of two men; one who knows who
he is and what he can do, and the other being very disturbed and completely
lost in the post-war world.
“The Master” takes us back to the 1950s when World War II
was coming to a close. Freddie Quell (Joaquin Phoenix) is a Navy veteran who
has returned to civilian life as damaged goods and is bereft of any goals for
his future. He ends up drifting from job to job, be it as a mall photographer
or working as a farmer, and all the time he is mixing up some alcoholic drinks
that are filled with seriously volatile ingredients. Has anyone used paint
thinner when making a cocktail before in a movie? If anyone has, then please
tell me because this is the first time I have seen it done.
One fateful night, Freddie sneaks aboard a fancy yacht where
a big party is taking place in the hopes of finding some work. He ends up
making the acquaintance of Lancaster Dodd (Philip Seymour Hoffman), a highly
charismatic individual who is also the leader of a faith-based organization
called The Cause which seeks to rid its followers of past traumas that have
stunted their emotional growth. Freddie quickly falls under Lancaster’s spell
and becomes a follower of the movement himself as well as a brutal defender of
it. But over time, Freddie begins to wonder if what Lancaster is teaching him
is actually true or if he’s just making it all up as he goes along (as his son
accuses him of doing).
Anderson has gone on record in saying that the character of
Lancaster Dodd was inspired by L. Ron Hubbard who is of course known for
creating Scientology, that movement which Tom Cruise is a die-hard fan of. It
should be made clear however that “The Master” is NOT about Scientology, so
those hoping for an expose of it would do better to read those articles in
Vanity Fair and The New Yorker which are making headlines.
At its heart though, “The Master” is really about Freddie
Quell and Joaquin Phoenix ends up giving one of his best performances ever as
this emotionally unhinged war veteran. It’s been two years since Phoenix did
that crazy mockumentary “I’m Still Here” which had him retiring from acting and
becoming a pathetic hip-hop artist (thank goodness that was a hoax!). It’s
great to see him back as he’s always been the gutsiest of actors, and this has
him at his most unpredictable. He’s an unrestrained id whenever he’s onscreen,
and you can never be sure where or when he’s going to strike next.
Phoenix’s performance is the kind you want to study closely as
he has so many scenes which will burn into your memory. One in particular has
him beating himself up his prison cell and destroying the toilet in it, and you
have to wonder how he could push himself that far. He makes Adam Sandler’s
character from “Punch Drunk Love” look like a peaceful man in comparison, and
Sandler trashed a whole restaurant bathroom in that one!
Hoffman ends up giving one of his very best performances
here as Lancaster Dodd and, considering how endlessly brilliantly he’s been as
an actor all these years, that’s saying a lot. Throughout the movie’s two hour
plus running time, the actor gives us a character that is an endless enigma.
Part of us may quickly want to write off Dodd and his beliefs in record time,
but Hoffman makes his character’s effect over people seem all the more
enthralling to experience. Even as his beliefs fall off the tracks, Hoffman
keeps us fascinated by Dodd’s thought process and how he plans to keep going in
the face of endless criticism.
One scene between Phoenix and Hoffman stands out in
particular when Hoffman decides to do some processing on Phoenix. The razor
sharp focus between these two actors is just exhilarating (not to mention
exhausting) to watch as breakthroughs are made and alliances are formed.
Anderson ended up using two cameras to film this scene which is the same thing
Michael Mann did when he filmed that famous coffee shop scene between Al Pacino
and Robert De Niro in “Heat.” Seeing Phoenix and Hoffman work off of one
another makes for some of the most exciting scenes I’ve seen in any movie this
year. It’s even more exciting than the best car chase in any action movie
released this past summer.
There’s also no forgetting Amy Adams who is phenomenal as
Dodd’s wife Peggy. Adams is truly an amazing actress as her words say one thing
while her eyes say something else entirely. In retrospect, Adams’ character is
the strongest one in “The Master” as she has more control over her actions than
any of the male characters have over their own. Just watch her as she exercises
a certain part of Hoffman’s anatomy in one scene.
“The Master” features many other masterful performances from
actors like Kevin J. O'Connor, Rami Malek, Jesse Plemons who plays Lancaster’s
son Val, Lena Endre, and Laura Dern of all people as true believer Helen.
Hoffman’s response to one of Helen’s persistent questions will have your hair
standing on end.
Paul Thomas Anderson continues to prove himself a defender of
all things film as “The Master” is the first movie to be shot in 65/70mm since
Kenneth Branagh’s “Hamlet” which came out 16 years ago. Director of photography
Mihai Malaimare Jr. comes up with a barrage of unforgettably beautiful images (especially
of the ocean) throughout the movie’s running time, and they are accompanied by
another daringly original film score by Jonny Greenwood. At a time when film is
being rendered obsolete for thee advances in technology, this is proof of why
we need to keep it around.
“The Master” does leave a lot of questions unanswered which
will frustrate many filmgoers but fascinate so many others who are willing to
weave through its unusual narrative. It’s never entirely clear where these
characters will end up once the movie’s over or which one we should believe in more
than the other. Some will have made up their minds about that perhaps even
before they go into the movie theater to watch it, but the beauty of a film
like this is the effect it leaves on you after you have seen it.
As much as I try to avoid saying the following, I have to
say it: “The Master” is masterful filmmaking. I know I’m not the first to say
it, but I also know I won’t be the last. Paul Thomas Anderson remains as
brilliant a filmmaker as ever, but that’s no surprise considering he has yet to
make a movie that’s just the least bit bad.
* * * * out of * * * *
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