The Master review

Freddie Quell: I don't know what I told you but if you have work for me to do I can do it. 
Lancaster Dodd: You seem so familiar to me. 
Freddie Quell: Yeah. What do you do? 
Lancaster Dodd: I do many, many things. I am a writer, a doctor, a nuclear physicist, a theoretical philosopher, but, above all, I am a man. A hopelessly inquisitive man, just like you. 

Director: P.T Anderson
(2012)

After watching my first Paul Thomas Anderson film, There Will Be blood back in February of this year, I was salivating with intense anticipation for the arrival of his newest film, The Master. While the wait was arduous, I frequently reminded myself of those who witnessed the brilliance of There Will Be Blood back in 2007 and how their wait has been so much longer than mine. My initial viewing lead me to London, my intent to watch the film in 70mm projection wasn’t a cheap one, but it was certainly worthwhile. Slightly bewildered by what I had witnessed, I saw it again, this time to fully understand the nuances of Anderson’s script. After this viewing I'm positive that The Master is a genius, spectacular treat, as frustrating as it is brilliant and should be viewed by anyone who truly loves cinema.

A common trait of P.T Anderson films is a perfectly cast lead who gives a spectacular performance. The Master builds on this by giving us 2 performances of such a calibre, and these 2 titans are the driving force of the film. Freddy Quell (Joaquin Phoenix) is the focus initially; a man back from WW2 suffering with the mental anguish that it has had on his psyche. He’s an alcoholic, sex obsessed mess, drifting from job to job, completely unsure of his direction in post war America. He possesses a laugh that paints him as ever so slightly unhinged, talking out the side of his mouth with an occasionally incomprehensible slur. It’s an effort from Phoenix that does tremendous service to Anderson’s finely crafted character, the best performance of the year by a considerable margin. Freddy looks for his salvation in Lancaster Dodd (Phillip Seymour Hoffman), the charismatic leader of The Cause, a new religion that is quickly gathering followers as many wish to learn more about what Dodd can offer them to enhance their lives. Everyone (including myself) was feverishly anticipating what Phoenix would bring to the film, overlooking the fact that Hoffman is an immensely talented actor is his own right; a trait that he portrays almost effortlessly. These 2 powerhouse performances are stunning, making for electrifying viewing as Dodd attempts to remove Freddy's vicious animalism. These 2 performances are so good that they totally overshadow the excellent Amy Adams as Peggy Dodd, Lancaster’s loving and devoted wife. Adams gives the best show of her career here, complex and nuanced to the point where viewing the film for a second time is required to truly see her efforts shine.

Adams hidden brilliance brings me to the elephant in the room and a major question about the film itself; Does The Master need to be seen a second time? While a second viewing can help clear up some confusion that will undoubtedly present itself on the first viewing, it’s not essential for P.T Andersons latest to be understood or enjoyed. The general themes; the juxtaposition of Freddy and Dodd’s personalities, the homoerotic subtext and the meaning and life force of The Cause can all be understood on the initial viewing. But on a second look, the master reveals new secrets, deep layers of meaning lay hidden under the surface. Some of the more confusing scenes, such as the scene in the bathroom mirror or Freddy's fantasies of a room full of naked women have a degree of light shone upon them.

Just like the towering performances he coaxes out of his cast, Andersons films also exhibit near perfect camerawork. Working without his usual cinematography Robert Elswit for the first time due to scheduling conflicts, he instead teams up with (cinematographer) to bring us a film shot on 70mm, the first film to do so since 1996’s Hamlet. Even though the film isn’t a wide open, outside epic like many films that use this stock, The master still manages to look gorgeous in this format. After having the luxury of seeing both 70mm and regular screenings, the difference is quite profound. The 70mm is clearer, sharper and complete with stronger colours and deeper dimensions. The ‘regular print looks good too, but if you have the chance to view it in its intended format, it’s an experience that can’t be missed.

The films biggest flaw is its open ended and scattershot final 40 minutes, an almost drastic change from the tight, concise opening 90 minutes. As Freddy partakes in activities that are intended to cure him of his vicious and almost feral behaviour, Anderson slows the pacing down to a frustrating crawl. The most prominent of these activities involves Freddy walking between a wall and a window and having to describe what he feels when he touches these objects. It’s more interesting that it sounds. This signifies the beginning of the end for The Master, its plot disintegrates and the films initial brilliance vanishes. What we’re left with is slightly muddled, offering little in the way of gratification until a final encounter between Freddy and Dodd. Anderson has been fond of using father/son relationships in his previous works, capitalising on the pair’s relationships in a subtle yet satisfying manner. It’s not as bombastic and exhilarating as the electrifying climax to There Will Be Blood, but it’s satisfying regardless. In fact, this climax aptly represents the film as a whole, slight and underplayed, leaving audiences to draw their own conclusions. Anderson still infuses his films with phenomenal writing and direction, but does so in a more subtle manner I believe never again will we see frogs fall from the sky.

There's no doubt that The Master is one of the finer films of 2012. Anderson has approached this 5 year long development with the intent to apply depth and complexity to every detail, every frame. Scenes that seem innocent can be seen again and again, revealing new, often sinister machinations lurking just under the surface. The best way to describe The Master is comparing its plot to the shape of a river. It’s taut, with sharp bends and thrilling rapids, until it opens up at the mouth and flows into the vast expansiveness of the sea where it becomes lost just like its protagonist. Maybe that’s the point.

8