Review: "The Master"

Paul Thomas Anderson (There Will Be Blood) doesn't make movies at a high rate of frequency, but when he does, the end result is always a film worth watching, dissecting, and discussing. His new film, The Master, stars Joaquin Phoenix as a struggling WWII veteran named Freddie, who is plagued by alcoholism and ruled by his most basic impulses. He is taken in by Lancaster Dodd, played by Phillip Seymour Hoffman, the charismatic leader of a movement simply known as The Cause. Amy Adams is Dodd's wife, Peggy, a woman who clearly believes in her husband and his teachings, but is wary of his interest in and affection towards Freddie.

It has been much publicized that Dodd and The Cause are loosely based on L. Ron Hubbard and the early days of Scientology. While this is true, and there are some very specific references to the church, Anderson spends little time chronicling the rise of The Cause, instead focusing on these two men, each with his own struggles, coming together at the specific moment when they needed each other most. At least, that's what Anderson would lead you to believe. There is, however, a sense that the events in the film are simply a diversion -- a bump in the road of their personal journeys -- and the audience's satisfaction will vary regarding where the story leaves each man in the end.

The performances are nothing short of amazing though, which is something we've now grown to expect from a P.T. Anderson movie. Phoenix, especially, has taken Anderson's writing and created a shaggy, troubled, and stunted character that is impossible to look away from. The amount of mileage on his face is scary, and I can't imagine a world where he isn't nominated for an Oscar at the end of the year. Hoffman's work as Dodd is equally impressive; he displays a suave nature wrapped around a sometimes explosive rage, lashing out against anyone who would question him. Adams, the good wife, is always there to settle and refocus his energies. Hers is the performance that will garner the least praise, but the women who could keep up with such powerful acting heavyweights are few, and Adams deserves a lot of credit for keeping things interesting towards the end. The rest of the cast is filled with great supporting work from Jesse Plemons, Laura Dern, and Kevin J. O'Connor, among others.

From a technical standpoint, the film is nearly flawless, once again placing Anderson in an elite class of working filmmakers. Shot on large-format film and presented at select theaters in 70mm, The Master is visually breathtaking. Close ups of the actors' faces seem to capture shadow and light in truly remarkable ways, creating rich atmosphere and an almost noir-ish quality. The music by Johnny Greenwood brilliantly captures the edgy, unpredictability of the film, and the costume design and art direction capture the post-war era perfectly.

This is not a film concerned with moving story forward using traditional means. There is no formulaic point "A" to point "B" plot devices for comfort, or chases, guns, and explosions just to keep those with short-attention-spans interested. The Master is the work of a world-class filmmaker who refuses to give the audience any easy answers, challenging them to find meaning from the incidents onscreen. To be honest, I'm not 100% sure how I feel about the story, but ultimately the experience filled me with enough curiosity, emotion, and admiration to know with certainty that I'll be revisiting it very soon.

"Setting the Frame" Film Grade = A-