Paul Thomas Anderson's last film was 2007's There Will Be Blood. Now, he returns with a dark, intriguing, and disturbing look at the creation of a cult. The movie is a work of fiction, but its inspiration clearly comes from L. Ron Hubbard, the founder of Scientology.
Anderson's story focuses on Freddie, a WWII vet who is a shell shocked and emotionally unhinged drunk who returns to the states and leads a life of misery. He makes nearly toxic alcoholic concoctions using such ingredients as paint thinner. Eventually he meets Lancaster Dodd, a Doctor and egotistical megalomaniac that begins his own church, known as the Cause. Freddie becomes involved with their little group, mostly because Dodd likes his drinks and thinks he can save the poor bastard. Freddie has a hard time fitting in; he wants to be a part, and he is loyal to The Master and his Cause. Dodd faces continued criticisms from the outside world, being called a cult leader, and having ongoing financial difficulties.
The relationship between Freddie and Dodd is fantastic to watch. Joaquin Phoenix plays the raging Freddie with an animalistic and nuanced performance that is extremely realistic. His body is ravaged by the poison he drinks daily, and his mind is dull from years of wandering. Phoenix delves into the character, and brings forth a man that is practically an ape. His psychotic outbursts and sexual obsession are constant reminders to the other members of the Cause that he is unpredictable and perhaps beyond saving. Phillip Seymour Hoffman plays Dodd with such passion and complexity that it becomes nearly impossible to see what the man is really all about. He is a commanding presence, who can give a heartfelt speech, be a comedian to his followers, and can snap into bursts of rage. Hoffman creates a man who is truly so bizarre and delusional that it his hard to look away. Despite his self obsession, he is easy to be drawn into.
Amy Adams plays Peggy Dodd, wife of the Master. Her performance is haunting and disturbing. Although her role is mostly hinted at and only once ever explicitly shown in the movie, she is a force of a character. She takes on the role of the dutiful wife for appearances sake, but underneath there is at the very least a power struggle between her and The Master. Adams gives the role a surprising amount of depth for a character that lurks on the sidelines for most of the film.
Anderson's script is a knockout. He delves deep into the emotions and psychology of his characters, bringing forth deep and psychology complicated individuals that live in a world of their own codes. The character of Dodd is very reminiscent of the titular tycoon from Orson Welles' Citizen Kane. In fact, much of the film seems to be in the same vein as Kane, with a demanding and ego driven man that serves as the centerpiece. Like Welles' film, The Master suffers in one key area; that is, it doesn't have a single truly sympathetic character. Perhaps Freddie is the one we can identify with the most, but he is so troubled and self destructive that it is hard to relate.
Anderson directs the film with a cold and raw style, bringing these people with all of their troubles and ambitions and hidden, unknown desires to the forefront of the story. The parallels with Scientology are certainly prevalent and important to the film, but the real interesting stuff is the relationship between Freddie and Dodd and his wife.
A film that is bizarre, disturbing, and thought provoking, The Master is a great piece of art. The film is most certainly not for everyone, and many people may be frustrated by the lack of handouts the movie gives to the audience. Instead, Anderson invites us to watch Dodd and his methods of bringing people to their "true" selves, and make our own decisions about what was really going on.
thatguythatlikesmovies.blogspot.com
Anderson's story focuses on Freddie, a WWII vet who is a shell shocked and emotionally unhinged drunk who returns to the states and leads a life of misery. He makes nearly toxic alcoholic concoctions using such ingredients as paint thinner. Eventually he meets Lancaster Dodd, a Doctor and egotistical megalomaniac that begins his own church, known as the Cause. Freddie becomes involved with their little group, mostly because Dodd likes his drinks and thinks he can save the poor bastard. Freddie has a hard time fitting in; he wants to be a part, and he is loyal to The Master and his Cause. Dodd faces continued criticisms from the outside world, being called a cult leader, and having ongoing financial difficulties.
The relationship between Freddie and Dodd is fantastic to watch. Joaquin Phoenix plays the raging Freddie with an animalistic and nuanced performance that is extremely realistic. His body is ravaged by the poison he drinks daily, and his mind is dull from years of wandering. Phoenix delves into the character, and brings forth a man that is practically an ape. His psychotic outbursts and sexual obsession are constant reminders to the other members of the Cause that he is unpredictable and perhaps beyond saving. Phillip Seymour Hoffman plays Dodd with such passion and complexity that it becomes nearly impossible to see what the man is really all about. He is a commanding presence, who can give a heartfelt speech, be a comedian to his followers, and can snap into bursts of rage. Hoffman creates a man who is truly so bizarre and delusional that it his hard to look away. Despite his self obsession, he is easy to be drawn into.
Amy Adams plays Peggy Dodd, wife of the Master. Her performance is haunting and disturbing. Although her role is mostly hinted at and only once ever explicitly shown in the movie, she is a force of a character. She takes on the role of the dutiful wife for appearances sake, but underneath there is at the very least a power struggle between her and The Master. Adams gives the role a surprising amount of depth for a character that lurks on the sidelines for most of the film.
Anderson's script is a knockout. He delves deep into the emotions and psychology of his characters, bringing forth deep and psychology complicated individuals that live in a world of their own codes. The character of Dodd is very reminiscent of the titular tycoon from Orson Welles' Citizen Kane. In fact, much of the film seems to be in the same vein as Kane, with a demanding and ego driven man that serves as the centerpiece. Like Welles' film, The Master suffers in one key area; that is, it doesn't have a single truly sympathetic character. Perhaps Freddie is the one we can identify with the most, but he is so troubled and self destructive that it is hard to relate.
Anderson directs the film with a cold and raw style, bringing these people with all of their troubles and ambitions and hidden, unknown desires to the forefront of the story. The parallels with Scientology are certainly prevalent and important to the film, but the real interesting stuff is the relationship between Freddie and Dodd and his wife.
A film that is bizarre, disturbing, and thought provoking, The Master is a great piece of art. The film is most certainly not for everyone, and many people may be frustrated by the lack of handouts the movie gives to the audience. Instead, Anderson invites us to watch Dodd and his methods of bringing people to their "true" selves, and make our own decisions about what was really going on.
thatguythatlikesmovies.blogspot.com