Daily Archives: October 3, 2012
Writer/director Paul Thomas Anderson met with great resistance when he was shopping his script around for The Master. It was dubbed the “Scientology movie” and reportedly based upon the controversial religion and its leader, L. Ron Hubbard. It looked like Hollywood was spooked by the prospect of a movie that appeared to take on Scientology. Eventually Anderson got his financing and made the movie he wanted to make. Calling it the “Scientology movie” is misleading. I wish The Master was a Scientology expose because that would be far more interesting than the exasperating film I got, which is one nutty guy who dabbled in a Scientology-like cult. Maybe the resistance Anderson experienced wasn’t an indication of the subject matter. Perhaps it was only an indication that The Master just wasn’t a compelling story, a charge I can agree with wholeheartedly after viewing this disappointing film.
Freddie Quells (Joaquin Phoenix) is struggling to adjust to life after World War II. Fresh out of the Navy, he works as a department store photographer, until his rage and social awkwardness lead to him being fired. He’s drifting about and hops onto a ferry leaving town. Onboard is Lancaster Dodd (Phillip Seymour Hoffman) who describes himself as “a writer, a doctor, a nuclear physicist, a theoretical philosopher, but above all, a man.” Dodd has gathered a revered following. He believes that people can regress to past lives trillions, yes you read that right, of years into the past. Dodd’s own children admit that dear old dad is “making it up as he goes along.” His movement, known as The Cause, has been called a cult by detractors, the will of one man, and the followers don’t take kindly to challenges from the outside. Dodd adopts Freddie as a project. He’s on the verge of completing his second major treatise and Freddie seems to be an inspiration for him. Freddie finds some measure of acceptance within Dodd’s community of followers, but his erratic behavior keeps people on constant edge.
I found The Master to be boring; uncompromisingly boring, hopelessly boring, but worse than all that, pointlessly boring. Was this really a story that needed to be told? I cannot fathom why Anderson chose to tell this story or, in particular, why he chose to tell it through the character of Freddie Quell. A story about a huckster exploiting people with a religion he made up is a fascinating story with or without the Scientology/L. Ron Hubbard connections. That’s a story worthy of being made. Now, instead of this, we have two hours of a guy acting nuts. I would better be able to stomach the Freddie character if I felt like anything of significance was happening to him. He’s a broken man, clearly mentally ill in some capacity, and prone to outbursts that turn violent. Does he change? Does he grow? Does he do anything? Does his life have anything of significance happen to him over the course of 137 minutes? Not really. He’s pretty much the same guy from start to finish; his arc is essentially that he’s crazy at the start, meets Dodd, and then is crazy at the end. We get it, the guy is messed up. He makes a drink out of paint thinner for crying out loud. I didn’t care about him at all. I don’t need to see static scene after static scene of this guy acting out. I wasn’t a There Will Be Blood fan but at least Daniel Plainview was a strong central character with enough dimensions to carry a film. Freddie Quell just isn’t that interesting or entertaining. He’s actually a tiresome character because you get a perfect sense of who he is in just 10 minutes. The rest of the movie just seems to remind you what you already know.
It is a disappointing realization but I feel like the Paul Thomas Anderson I enjoyed is slipping away, as his flashy, propulsive, plot-heavy early work has given way to opaque, reserved, and plotless movies. It’s like I just watched someone with the verve of Martin Scorsese transform into a poetic film somnambulist like Terrence Malick; not a good move. I don’t know what Anderson’s message is or what he was trying to say, and I’m unsure why he decided to use a limited character like Freddy Quells as his prism. It almost feels like Anderson is compensating for his plot-driven films of his early career, like he has to balance the scales in his mind. I shudder where this recompense might take Anderson for his next film. I like to think of myself as an intelligent moviegoer who enjoys being challenged by movies. But that doesn’t mean I’ll accept anything challenging as quality. Case in point: Jean-Luc Godard’s Film Socialism, which was contemptuous of its audience. I don’t mind doing work but you have to give me a reason. There has to be a reward, either with the narrative or with the characters. I found no rewards with The Master and it’s not because I didn’t “get it,” film snobs, it’s because the movie was too opaque to say anything of substance beyond simplistic observations about the abuse of power and influence.
When I say plotless I don’t mean that we’re simply watching paint dry, though there are stretches of The Master where I would feel that could be a suitable test from Dodd. There are events. There are scenes. There are changing relationships. It’s just that none of this seems to matter, or at least it never feels like it does. There’s no build, no increase in urgency, and The Master just sort of drifts along to the detached rhythms of Freddie. The movie can feel interminable, and you may ask yourself, on a loop, “Is this going anywhere?” There are two scenes that stand out because there are so few that seem to matter. One is shortly after Dodd and Freddie have been arrested. The two men are locked in opposing cells and they explode in venomous anger. It feels like Anderson can finally allow his characters to vent out what they’ve truly been feeling. Another memorable scene, just for weirdness, is when we jump inside Freddie’s head. All the women, young and old, at a social gathering suddenly lose their clothing (think: Choke). It’s one of the best scenes at exploring Freddie’s sexual compulsions, plus it’s just peculiar. I wanted more scenes like this where we try and get inside the man’s mind. The rest of the characters are underwritten, especially Amy Adams (Trouble with the Curve) as Dodd’s wife and fierce protector. This is a movie about two strong-willed men and everybody else gets relegated to minimal supporting positions. I miss the sprawling humanism of Boogie Nights and Magnolia.
From a technical standpoint, the movie is very accomplished. The 1950s era setting is lushly recreated, aided by cinematography that seems to present this bygone age in a colorless manner. By this I mean that the world feels muted, repressed, the colors are there but they don’t pop, and I think this look fits the movie marvelously. Anderson shot the film in 70mm, which would offer startling detail to his images. I did not see the film projected this way (as will most) but you could sense the time and effort put into getting the details of his world right. The musical score by Johnny Greenwood is minimalist but effective, with a few key strokes of a guitar to note rising tension.
The true draw of the film is the performances, which are excellent and at least provide a reason for staying awake. This is Phoenix’s first role since his two-year performance stunt documented in I’m Still Here. It feels like his off-putting, confrontational, bizarre antics for that faux documentary were all just training for playing the character of Freddie. The man has sad, droopy eyes, a fixed sneer that denotes his permanent displeasure and cocksure attitude. He speaks in mumbled sentences, he walks with his arms pinned out, donning the posture and behavior of a chicken. It’s at once an odd and striking performance, and Phoenix does his best to make the character worthy of your attention. He gives it his all, but sadly Freddie just doesn’t merit prominence. Hoffman (Moneyball) is equally alluring as the charming huckster who seems to come alive under a spotlight; the man exudes an oily presence, and yet there are a handful of moments where he lashes out, venting the roiling anger that seems to be barely contained at times. Hoffman’s performance is one of willful self-delusion rather than rampant self-destruction, which makes him far more compelling in my opinion. I would have preferred a Lancaster Dodd movie rather than a Freddie Quells movie.
The Master is a confounding, airless, opaque character study that is far from masterful. The faults of the film and its stilted ambitions lay squarely at the feet of its flawed central character, Freddie Quell. The movie adopts Freddie’s demeanor, managing a distant, standoffish, defiant attitude that thumbs its nose at audience demands. Don’t you know entertainment has no place in art, silly filmgoers?
Anderson is still a vastly talented filmmaker but I lament the path his career has taken. I adored the first four movies of Anderson’s career, but now I wonder if I’ll ever get something along the likes of Boogie Nights or even Punch-Drunk Love again. At this point Anderson has earned enough artistic latitude to tell whatever stories he so chooses. This is why my frustration has mounted because I am at a loss to why he feels compelled to tell this story and in this manner. The Master is an artistically stillborn affair. You want to believe there’s more under the surface but I don’t see it. The main ideas and themes are hammered with little variation, the slight plot drifts aimlessly finding no sense of momentum, and the characters are kept at such distance that the film feels clinical, like we’re observing creatures under glass for study. It just so happens that none of these characters warrant the attention. The Master will be praised by a plethora of film critics. Peter Travers of Rolling Stone said it renews your faith in American cinema. I had the opposite reaction. The Master made me lose faith, mainly that I’ll ever enjoy a Paul Thomas Anderson film from this point on.
Nate’s Grade: C