James A. George, Eyewear Film Critic, on a new American Masterwork
Paul Thomas Anderson is a relatively young
director but has already been labeled a pre-eminent director of his generation
who equally harks back to the golden era of Hollywood as much as he progresses
forward with unconventional films dealing with both ensemble casts or narrowed
to only a few major players. The Master however is essentially entirely a
two-shot (a dialogue between two characters) that happens to stretch out for
over two hours and features contained yet powerful appearances from others, namely
Amy Adams as a powerful woman-behind-the-man who is often in the background (slightly
out of lens focus). Joaquin Phoenix is Freddie Quell, a traumatised post-war
alcoholic failing to find his anchor in society, and Philip Seymour Hoffman is
Lancaster Dodd, his new anchor and in return The Master’s inspiration.
A work this dense and explorative should
not be this easy to watch and absorb; like a cult, the movie washes over you
and allows you to question and explore the themes. Like Daniel Plainview in
Anderson’s Oscar-winning There Will Be Blood, Lancaster Dodd is one of the many
bold visionaries that carved America into what it is now, who harnessed the
freedom America offered for what I think he genuinely feels is a good cause.
His teachings of “The Cause” really seem like something he intends to use to
heal people, whether it is true or not. In fact the C word is only used once in
the film, and the real issue is the love between Freddie and Lancaster. Where
There Will Be Blood represented the dynamics of politics and religion, The
Master manages to explore this and more primal instincts too. If such a society
existed I imagine Freddie would run around naked, drinking and eating and
humping as he pleased while The Master tries to return self-control and joy and
self-awareness to his new friend so that he can exist comfortably in the real
world. And yet this is the mere surface, father and son issues, issues of
success and failure, dictatorship and thought and more
all flow through this feature ready for the viewer to think about and unlock.
It is by no coincidence that I refer to the
characters by their names rather than the actors (which I tend to) – their acting
is so vivid and believable. With two monolithic actors like this one might
imagine the scenes rather combative and the scenery very much completely eaten
by the two powerhouses, however the balance is so cemented between them and the
feelings so clear and yet upon closer inspection so opaque.
Imagine viewing a friend in love. You
understand that they have deep feelings for their partner yet you do not
witness their sincerest moments and despite their best efforts, your friend
cannot most likely explain their connection to this person. The performances
are so life like, mirroring the plot that dances around the clear ups and downs
and inciting moments and climaxes, that once engaged from the opening shots you
forget you’re in a movie. You’ve joined the C word.
The Master is hot-blooded filmmaking
distinctive, wildly stylised and yet cooly controlled. Every brick holding
together this dazzling work is superbly crafted, the tremendous score, the
editing, the production and clothing and cinematography. As is key to the cult,
the sense of time travel has never been stronger in a films imagery.
As it did in American cinemas, The Master
is sadly going to have a quick rotation and disappear. However it is a masterpiece and
the best film this year – and last year. It’s the most absorbing, utterly beautiful,
and most worthy adversary for your mind. So strangely tantalising that it
invaded my dreams for better and worse. Since I saw it in stunning 70mm
projection (worth seeing if you ever have the rare chance to do so)
not a day has passed since I’ve not read about it, listened to the soundtrack and
recommended it to someone. As an aspiring filmmaker currently in the
pre-production on my first feature, this film couldn’t have come at a better or
worse time. Inspiring and intimidating, I’ve found myself rethinking even the
most minute of details concerning my project. Thank you and damn you Paul
Thomas Anderson.
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