One of the most highly anticipated films of 2012 in the art house cinema world is Paul Thomas Anderson’s The Master. Out now in select theaters and expanding to more next week, the film has received nothing but high marks from those who’ve seen it and it’s a film that’s guaranteed to have a strong presence at this year’s Academy Awards.
The Master follows the nomadic and psychologically frustrating adventures of Freddie (Joaquin Phoenix), a WWII Navy vet living his post-war life without any real direction who, after a night of heavy drinking, finds himself aboard a vessel and meets Lancaster Dodd (Philip Seymour Hoffman), the leader and master of The Cause. As Peggy Dodd (Amy Adams), Lancaster’s wife, observes, Freddie’s arrival sparks something in Dodd and soon the two become very close. Freddie inspires Dodd to write while Dodd tries to help Freddie become part of The Cause and become a happier and less violent person.
Everyone calls this the Scientology movie but I don’t plan to go too much into this comparison. I don’t know enough to provide a clear commentary but I can say that there are clearly parallels between the story arc of The Master and both the philosophy, interpretation and attitudes of Scientology. In actuality, there is nothing in the movie until the third act that might offend the religious organization but, to be fair and from what I’ve read in the news, much these hot button scenes are rooted in fact. The funny thing is that those hot button scenes are actually some of the most compelling scenes in the film, they were the ones that pulled me back into the picture when I started to get anxious and distracted.
Viewed in its original 70mm format, The Master is nothing short of a visceral experience filled with crystal clear, majestic shots of the beach and its oceanic landscape while also making simple interior shots look just as stunning. I didn’t think I would be able to visually tell the difference from a standard film but it is quite noticeable and something to be truly appreciated if you have the chance to view it in this format.
Under the direction of one of the most skilled directors working today, Joaquin Phoenix and Philip Seymour Hoffman end up delivering Oscar worthy performances that may also be their best perform
ances of their careers. Phoenix’s interpretation of a violent and tortured soul is scary good. Hunched over and constantly battling his inner demons and the people around him, he manages to convey how lost his character really is and does so equally well with dialogue and without it. As for Hoffman, he is so likable and charismatic that when he turns serious and even slightly menacing it’s quite terrifying to take in as an audience member. His ability to get under our skin and make The Cause seem attractive and legitimate shows us why it can be easy to get pulled into a religion/society like his.
From a technical standpoint I do believe the film is a triumph, from an acting standpoint it’s a master class, from a director’s standpoint it’s filmmaking at its finest but from a mainstream, regular moviegoer standpoint, I’d say it’s a long and, at times, boring movie with some very compelling and intriguing scenes with the top notch acting being the reason why no one leaves their seats.
Paul Thomas Anderson’s The Master is no doubt a filmmaker’s film, an art house critic’s wet dream and a film that will be appreciated by cinephiles and high brow filmgoers for many years to come.
Rating: An extremely well made film elevated by the best acting I’ve seen this year (8/10)
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