“He’s making it up as he goes along,” says a character late into Paul Thomas Anderson’s movie “The Master.” In addition to fitting into the dialogue, this statement also accurately sums up the film: The movie appears to lack a clear plot and comes off as an intensive character study. Ultimately, this proves to be an advantage for the film, as Anderson has created his most mature and thought-provoking work to date.
“The Master” follows Freddie Quell (Joaquin Phoenix), an ex-Navy soldier returning to society after World War II. From the first shot of Freddie, it is clear that something isn’t quite right with him. He stares blankly at the world that has changed drastically since he left, has an uneasy sexual appetite and finds fun in getting drunk off of what ever he can find. In other words, he appears lost.
It isn’t until after Freddie stumbles onto the yacht of Lancaster Dodd (Philip Seymour Hoffman) that he begins to find himself on a path. Dodd is the leader of a movement known as The Cause, and takes Freddie under his wing as a protégé in hopes of helping a lost soul find his way. Soon, Freddie finds himself devoted to The Cause and his “master,” as Dodd exposes him to extensive testing, lectures and parties, all of which point directly towards the foundations of a cult. Freddie begins to doubt The Cause, which Dodd’s wife Mary Sue (Amy Adams) points out could ruin them. From there, Freddie becomes more lost than ever, and The Cause appears ever more fraudulent in its teachings.
“The Master” proves to be a visceral portrayal of one man’s inner torture and confusion, and Joaquin Phoenix brilliantly portrays this man. He embodies Freddie, giving him ticks and quirks, making it hard to believe that this is someone acting and not a lunatic on camera. He brings an intense intrigue to this film. Here is a man with impulses that are almost unexplainable and at times detestable, yet as an audience, we are drawn to him and empathize with this man who obviously needs help.
Philip Seymour Hoffman is equally as powerful as the power-hungry patriarch of a flawed movement. His Dodd brings comparison to L. Ron Hubbard, the founder of Scientology, yet Hoffman makes the character his own. He is a man slowly being crushed under the weight of his own stubbornness. His movement is constantly criticized, and his only response is to raise his voice to Earth-shaking levels and belittle those who criticize. Dodd, like Freddie, has his own inner torment, which presents problems as he finds it harder to justify Freddie as a worthy follower, even if he makes a wonderful friend. Hoffman portrays this with grace and fervor.
Amy Adams is also superb as Dodd’s wife and his driving force. She is the dominant, matriarchal figure within The Cause, constantly questioning Dodd’s choices; Adams gives her character a terrifically sinister vibe.
This is Paul Thomas Anderson’s sixth feature film and it is indeed his most mature, both thematically and directionally. He gives the film a nostalgic feel, putting the audience at the heart of the era through which the narrative progresses. His shot selection is amazing, his work with actors impeccable and he once again shows that he is one of the most brilliant filmmakers working today.
His screenplay is provocative, thoughtful and intelligent. Like his other scripts, the narrative focuses on character development in emotional circumstances. He places the audience within the minds of compelling characters, and with “The Master,” he brings us his best characters to date. Anderson’s film also benefits from the gorgeous cinematography of Mihai Malaimare Jr. and a haunting score by Radiohead guitarist Jonny Greenwood.
“The Master” is a sublime work of art. It proves that Anderson is headed toward legendary status as a director and welcomes the return of Joaquin Phoenix. Whether the film mocks Scientology or merely draws historical relevance from the religion, it makes “The Master” no less of a powerful film and the best one of the year.
