The Master (2012) Reviews

• The Master in action.

  stingil2012-08-08

  I was fortunate enough to see this film much earlier than most. To me it seems like Anderson is really hitting his stride with this one. It was odd to me that upon exiting the theater the thing that I wondered about most of all is what the hell is he going to do next! The Master is not an easy movie to sit through, and at times you don't even know what the movie wants. But then you realize that the movie doesn't want anything. All it asks is for you to observe. More so than his earlier films, "The Master" and "There Will Be Blood" really venture into the realm of the film as being a purely cinematic presentation of a life. Anderson doesn't pass judgment or any point of view, he merely stretches the canvas which allows his characters to speak for themselves. Yes, there is a beginning, middle and an end, but is there? Do we really have a sense of catharsis at the end of "There Will Be Blood"? or do we simply understand "man" a little better? Anderson insisted, as I'm sure he would say the same for this film, that "There Will Be Blood" wasn't a metaphor for anything. It was what it was. No hidden meaning, no sophisticated and often formulaic subtext. It's simply man. As Hoffman's character says in the trailer for "The Master" - "But above all, I am a man". The movie deals with an interesting idea of the leader vs. the soldier, master vs. slave. It breaks down the anatomy of a relationship so you may interpret it in any way you'd like. It's beautifully shot on 65/70mm film which is the way I saw it and the way I recommend for you to see it if you get a chance to. Feels almost as if Anderson is giving the finger to the digital revolution by shooting his film on a resolution so high that digital can only dream of getting there in about ten years or so. The acting and the dialog is superb as you'd expect. Phoenix and Hoffman are on a different level here, especially Phoenix in a role of a life time. There are definitely times in this film that he completely disappears into that role. There is also some great supporting work from Laura Dern and others. It would be difficult to place this film in his body of work. More than anything it feels like the natural continuation of what he started with "There Will Be Blood". Not to say that he will continue on this path but just that this is definitely a more narrowly focused film than some of his earlier ensemble work. I found it to be less engaging than some of his other work and yet there was never a dull moment. You're always on your toes, trying to understand what's going on and where the movie is leading you. It really is simply, just like man, a fascinating piece of work.

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• This is extremely difficult for me. Let me just start.

  jzappa2012-10-07

  Yes, herein contains some of the most ravishing filmmaking of the new millennium. The period details are abstract yet precise. The score has a stark, primordial allure. It's post-WWII America: Psychologically scarred veterans attempt to cramp themselves back into society. One is loner Freddie Quell, adrift in emotional confusion. He's secured a gig as a portrait photographer at a lavish department store imagined like a temple of indulgent commercialism. But Freddie doesn't last long there. In the darkroom, he screws models and chugs rotgut he makes with photo chemicals. Ultimately, he loses it on a customer, not just hitting him but harassing and lambasting him, working out some indecipherable, irrepressible rage. Phoenix's performance as Freddie reduces all he's done before to a preparation exercise. He longs for something, but even he can't tell you what, and that sorrow has clotted into self- destructive ritual. We see his snarly face from angles we haven't seen before. We're not sure if his leery eyes are hateful or if he's dead inside. He's a captivating animal. Then he meets stout, articulate Lancaster Dodd, always circled by people who treat him like a prodigy, hanging on his every word, laughing at all his mugging. Lancaster fancies himself a renaissance man. He's married to Peggy, who's much more vigilant than we first think. His son trails the proceedings with a dormant pose of derision. His daughter marries a man who, like everyone else in their clique, views him as a wizard. The film belongs to Phoenix, but Hoffman more than does his thing, his affectations ringing with conceit and fraudulence. Freddie---father dead, mother institutionalized---is naturally drawn to Dodd, who promises answers, mental freedom, happiness, even claims to cure leukemia. He's written a book his bootlickers treat as a sort of bible. He loves to charm and perform. It's well-known that Lancaster's cult is inspired by L. Ron Hubbard's Scientology. It's not direct, but the manner in which Lancaster draws Freddie into the fold, among other things, is unmistakably influenced by the contentious institution and Hubbard's life. Paul Thomas Anderson doesn't bind to that inspiration for his movie...but he doesn't bind to anything, really. You walk out muddled, wearied, wondering where to start in connecting the dots in this elegant, arresting movie. The story is as confounding as its technique is magnificent. Anderson, the true wunderkind of the Tarantino generation, sets everything up so beautifully, you wait for the turning point to prevail so the intrigue can come to boil. Instead, nothing progresses. The dramatic developments seem to dwindle and become less consistent as the movie drifts along, and Anderson throws in pauses, like a lingering desert scene or an outstretched montage in which Freddie is made to pace in a room, that slow the movie to a drudge. Freddie's sex preoccupation, which was stressed in the film's early stretch, grows dissonant. It's less about narrative arc and more the emotional condition of two men, a twist of trust and mistrust, id and superego. PTA's vision is grand in scope, but his result is not so much ambiguous as opaque and detached. For the first time in his immaculate career, the greatest filmmaker of his generation seems to languish. His newfound frigidness makes the film easy to admire but difficult to love. Anderson is so stunningly impressive, in fact, that it's taken me two viewings of The Master to admit all this to myself. Understandably, some critics have patronized it as deliberately evasive and occult, but isn't that just double-talk? A glorification of an artist's failure to proportionately bear his ideas? Something particularly intriguing is how the movie poses questions not so much about the importance of faith, but how far the human limit for change can extend and to confront emotional devastation so heavy it can never recover. But the film is too ambivalent or cautious to probe them in depth. By the end, it's become an opaque challenge between two phenomenal actors whose commitment to their roles is awe-inspiring, but it's manacled to a work so in awe of itself, the audience gets blockaded.

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• "I am a writer, a doctor, a nuclear physicist, a theoretical philosopher, but above all, I am a man, just like you"

  Benedict_Cumberbatch2012-09-15

  Paul Thomas Anderson has grown as perhaps the greatest American auteur of his generation. At 42, this is his 6th film (following 1996's "Hard Eight", 1997's "Boogie Nights", 1999's "Magnolia" - my all-time favorite -, 2002's "Punch-Drunk Love", and 2007's "There Will Be Blood"). Like the late master Kubrick and the aging master Terrence Malick (who, coincidentally, just debuted his 6th film, "To the Wonder", at the latest Venice Film Festival where PTA won the Silver Lion for Best Director), he isn't the most prolific of filmmakers; but his perfectionist creations, cerebral yet strikingly cinematic and emotional, always leave an indelible mark (polarizing audiences but usually earning critical acclaim). "The Master" is no exception. Shot on 70mm film, it is not so much of an "outside" epic as you'd imagine - although every single image is stunning and perfectly composed (courtesy of cinematographer Mihai Malaimare Jr., who replaced Robert Elswit, Anderson's usual collaborator). It closely resembles "There Will Be Blood" in tone and content, but it stands on its own (Jonny Greenwood is once again responsible for the score). Freddie Quell (Joaquin Phoenix) is a troubled and troubling drifter who becomes the right-hand man of Lancaster Dodd (actor extraordinaire Philip Seymour Hoffman), "the master" of a cult named The Cause in post-WWII America. Their strange, ambiguous relationship is the center of the film. "The Master" is a thought-provoking indictment of cult fanaticism and lies sold as religion, which has caused controversy and concern among Scientologists even before its release. By not mentioning real names, Anderson is capable of broadening the scope of his story and making it richer - and subtler - than a straightforward "Scientology flick" would have been. Like his previous films, there's more than meets the eye at a single viewing, and his attention to detail pays off (there's also a visual homage to Jonathan Demme's "Melvin and Howard", another favorite of Anderson's, in a motorcycle racing scene). Hoffman is as good as ever, and Amy Adams is highly effective (slowly depriving herself of cutesy mannerisms) as his wife. David Lynch's golden girl Laura Dern has a small role as well. But this is Joaquin Phoenix's hour, all the way. River Phoenix's younger brother has become a fascinating actor himself since Gus Van Sant's dark comedy "To Die For" (1995), and, after his much publicized "retirement from acting" and music career hoax in 2009, he managed to come back with a performance for the ages, which shall culminate in Oscar gold. As for Anderson, it is unsure whether the Academy will finally recognize him as he deserves. His films may still be too outlandish for the Academy's taste (he's announced his next project will be an adaptation of Thomas Pynchon's crime novel "Inherent Vice", a seemingly less ambitious project he hopes to make in less than five years). Regardless of Oscar numbers, we can rest assured that in a world where PTA gets to make such personal and original work and find his audience, there is still hope, and room, for intelligent filmmaking.

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• Phoenix is the performance of the year! Anderson excels once again

  ClaytonDavis2012-09-12

  The Master is absolutely magnetic, orchestrated brilliantly by writer/director Paul Thomas Anderson and helmed by the commanding turns of Joaquin Phoenix and Philip Seymour Hoffman. Anderson has never been a director that makes a film for everyone to enjoy. In the vein of auteur directors like Terrence Malick, David Lynch, and Michael Haneke, Anderson's films aren't necessarily the most accessible despite the seeming mainstream status. Films like Boogie Nights (1997), Magnolia (1999), and There Will Be Blood (2007) are reflective, tensional, studies of human behavior, all things that the average film-goer most of the time will not embrace. In The Master, Anderson constructs, absolutely magnificently I might add, two dynamic, real, and tangible men that the audience can both imagine knowing, loving, and loathe. It's the writing masterpiece of the year. Lancaster Dodd (Hoffman) gets the best character blueprints of any player to interpret. Hands down, the sharpest and best written character of the film is purely Lancaster. Anderson concentrates on his motivation and responses, giving him an arc that the audience can both easily and willingly travel with him. Hoffman's natural talents as an actor and finding himself in a character are showcased here with intensity and composure. His often seemingly blood-filled hot-headed dialogue encompasses some of the best moments of the film. It's evident Hoffman is not only enjoying himself but enjoying Lancaster. He's both repulsive but completely enamoring in structure, word, and persona. Anderson may have created the great oxymoron of cinema this century. Hoffman is damn-near perfect. The performance of the year... On the flip side, Joaquin Phoenix not only inhabits a character never seen by him or any actor before but assembles a man from scratch, beat by beat, trait by trait. It's not just the finest acting performance of the year, not only the finest acting performance this millennium, it could be the finest work of the past twenty years or so. I can only recollect a handful of actors that have the gumption to stand toe-to-toe with Phoenix's work here. His Freddie Quell is utterly unpredictable; strutting, glaring, and holding an explosive mentality that could detonate at any moment. Phoenix controls it, even though there are many instances where you feel like he's losing it. Quell is frightening, admitting his evil, unbalance, and instability. Phoenix externalizes this in his zealous and disturbing actions but more importantly internalizes it in body language and character beats that not many actors dedicated to the craft can achieve. Joaquin Phoenix is not just Oscar-worthy, he's Oscar-bound. It's the performance you can't deny, the performance of the year. Let's hope they don't. Where Phoenix and Hoffman are strident and vociferous, Amy Adams is internal and subtle, but always at the brim. Peggy Dodd is multifaceted and extremely complex. Adams understands her amazingly well, making intricate features that are surprising for "good-girl" Adams. She gets dirty and dominating in not only a prolific manner but in a sultry method. Adams is a revelation. Laura Dern is brief but memorable; a missed actress who should be doing more accessible work. Jonny Greenwood's score once again, it's absolutely brilliant, well- placed, astonishing and among the best composers this year. Mihai Malaimare, Jr., cinematographer extraordinaire, is just that, extraordinary. Malaimare is painting scenes on a film canvas and we are witnessing the artist work. It's as if we're watching Bob Ross teach us the art of capture. Expect Cinematography to be named among Oscar's lineup in 2013 along with Film Editing (Leslie Jones, Peter McNulty) and Production Design (David Crank and Jack Fisk). It goes without saying, Picture, Director, and Screenplay should be there alongside them. The Scientology subject is there and there are connections that can be made but are they obvious or intended? Not necessarily. It's not evident or offensive. I only hope that Paul Thomas Anderson and the film doesn't suffer from anyone assuming that its a slight at the group or any particular one for that matter. Though the film takes time to warm up to, once the film soars, it's soars high. While The Master is not for everyone and there could be many detractors, there are three scenes in particular that are masterpieces in filmmaking. Anderson levels and executes a difficult subject with no fear or hesitation. He also knows his characters, what they are, who they are, and marrying the actors to them in a way not many directors can do. Anderson unites film with art again and The Master is their bond. It's good to see them together again.

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• Cements Paul Thomas Andreson as the most consistent director working today

  Monotreme022012-09-15

  In a broad sense, The Master tells the story of a soulless drifter, Freddie Quell (Joaquin Phoenix,) constantly drunk and with no purpose in life, finding sanctuary in the company of The Cause, a cult-like group lead by a charismatic intellectual, Lancaster Dodd (Philip Seymour Hoffman.) This plot description does not do the film full justice, because with this film, Anderson fully releases himself from the constraints of traditional narrative storytelling. The film is told in a stream-of-consciousness style, loosely linking together vignettes and moments from the time these two men spend together, without any sense of "drive," "purpose" or "goal" in the traditional screen writing sense. It is a style perfectly befitting the emotional and spiritual state of the main character, Freddie, adrift in life with no anchor or sense of purpose of his own. Throughout the film, Anderson occasionally cuts back to a shot of the wake of a slow-moving ship, placing us, the audience, aimlessly drifting through the narrative, just as Freddie is. What results is a series of scenes, snapshots of events, some narratively linked and some not. The film is very subjective, and puts us squarely in Freddie Quell's mind; as a result, no easy answers are given, many questions remain mysteries, and we never get a firmly grounded sense of reality; many events remain ambiguous and keep us wondering as to their fidelity long after the film is over. The Master is Anderson's most cinematically humble film yet. Gone are the sweeping camera moves, rapid-fire editing and high style of his previous films; even the slow, meticulous, beautifully lit tracking shots of There Will Be Blood are gone. Instead, Anderson submits to a wholly utilitarian shooting style, only moving the camera when necessary to capture action in the shot, and using formal framing techniques and naturalistic (but still very beautiful) lighting to comment on the characters' internal states. That said, it would be impossible to talk about the film's visual style without commenting on Anderson and cinematographer Mihai Malaimare Jr.'s decision to shoot on 65mm film. This film stock, especially when projected in 70mm, provides the film with an unprecedented sense of clarity and sharpness. The 65mm lenses provide a very unique and distinctly shallow depth of field that adds to the dream-like quality of the film, and helps emphasize the isolation the characters feel. It would be a crime to watch the film on any other format. All this discussion about non-narrative elements, thematic overtones and film formats is not to minimize what is possibly the film's crowning and most long-lasting achievement: the performances. Philip Seymour Hoffman, one of the most consistent performers working today and an Anderson regular, delivers another powerful, charismatic performance in line with his turn in Doubt. It is, for the most part, an effectively subtle performance, maintaining a controlled dignity peppered with the occasional outburst. Amy Adams delivers a similarly dignified performance. Her character is mostly quiet, observing from the sidelines, but she has her moments to shine in the aforementioned private scenes between her and Lancaster, in which she completely dominates him. But the highlight of the film is without a doubt Joaquin Phoenix's tremendous performance as Freddie Quell. Over the years, Phoenix has, without much fanfare, slowly but surely cemented himself as one of the best actors working today, with powerful turns in many varied films, from his deliciously villains turn as emperor Commodus in Gladiator to his quiet, grave personification of Johnny Cash in Walk the Line. Now, after a four-year absence from narrative films, he returns with what is undoubtedly a career best performance, and one that, with any luck, will win him a much-deserved Oscar. His utter and complete immersion in the character of Freddie Quell has to be seen to be believed. His back hunched, swinging his arms like an ape, his frame thin, his face twisted and distorted, mumbling and slurring his speech out of the corner of his mouth like he is just learning how to behave in society for the first time, and failing. And Phoenix' physical commitment to the performance doesn't stop there, either: he flings himself into scenes of raw violence that look and feel completely real. It is a crowning achievement in the art of acting and "the method," rivaling that of Daniel Day-Lewis in Anderson's previous film, and it further cements the biggest difference between Anderson and Stanley Kubrick as directors: Where Kubrick is known for his actors' cold, removed performances, Anderson has become the most consistent source for high-caliber Acting with a capital A. It's hard to really explain what makes The Master work even though it lacks many traditional narrative elements that provide most other films with powerful drama, closure and immediate gratification. It's a very subjective experience, and I'm sure many viewers will have difficulty immersing themselves in the film without the typical sense of narrative progression and character goals. For this reason, The Master is probably Anderson's least accessible film. That said, I think it is a testament to Anderson's enormous intellect and directorial abilities that he managed to capture the attentions and fascination of so many viewers and critics. He certainly won me over; although I had more visceral and immediately satisfying reactions to Anderson's previous films, I find that The Master lingers on long after the lights went up in the theater. The film's intellectual ambitions, along with its very unique, eerie tone, will keep me mulling over the experience for days to come. Already I feel the urge to re-visit it and attempt to uncover more of the film's secrets. And that right there is a telltale sign of an instant classic film in the making.

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