While viewing “The Master” it dawned on me that the majority of my knowledge about L. Ron Hubbard comes from that episode of “South Park”. You know, the one about Xenu, the dictator of the Galactic Confederacy? Well, Xenu is not mentioned in “The Master” as Mr. Hubbard is only the inspiration for the film and this is not your average expose. The building of a new religion is the jumping point that allows writer/director Paul Thomas Anderson to give us another fascinating study of his favorite subjects: The need for family and the fractured nature of man.
The Wild Dog: This could have easily been the title of the film as the majority of the focus is on the one mastered, Mr. Freddie Quell (Joaquin Phoenix). Freddie is a naval officer that we meet right after the Second World War. The man is broken in his heart and soul, an alcoholic who makes his own booze and spends the majority of time mumbling. He has no filters or public graces and tries to sleep with or fight all those around him. He is an animal that needs to be chained and if anyone needs saving, it is Freddie Quell.
The Master: Lancaster Dodd (Phillip Seymour Hoffman) is a smart man. No one can deny that. His novel, The Cause, is being thought of by some as a guide to become a better human. A path to fix what is inherently perfect but shattered by the world we live in. Dodd has found a new way. When he meets Freddie, the two instantly bond as they are the antithesis of one another. Freddie is a glowing example of what is wrong with the human race and Dodd uses him to devise ways, tests and methods, to make better mankind.
I’m not kidding about the wild dog analogy. Watch as Freddie unexpectedly “barks,” humps inanimate objects and as he runs off, Dodd calls his name angrily as if calling back his disobedient animal. My favorite example is when Freddie returns home from a brief stay in jail only to wrestle lovingly with Dodd in the front yard. It truly looks like a master playing rough with his dog.
After his Altman phase with his huge casts and multiple storylines (“Boogie Nights” and “Magnolia”) PT Anderson has focused on the two character film that feature very flawed characters. “Punch Drunk Love” gave us an Adam Sandler on the verge of imploding and “There Will Be Blood” let Daniel Day Lewis show us the most twisted figure in modern cinema.
“The Master” is almost a companion piece to “Blood” with two titans colliding. While poor Paul Dano had no chance at keeping up with Lewis, Phoenix and Hoffman remain toe to toe throughout. The result is a master study of acting. Hoffman makes Dodd larger than life and you see why the herd is following. He commands respect and bellows when he wants to be heard. While it must be by design, Dodd’s motivations are kept secret. Does he believe what he’s preaching? Is he merely fueled by greed? “The Master” does venture a guess. It seems odd to make an entire film about someone so polarizing and not take a stand on what drives him but ultimately it would only be speculation. Perhaps Mr. Anderson isn’t interested in making an Oliver Stone film.
As for Mr. Phoenix, he is impossibly good. His Freddie is rotting before our eyes. Hunched over and, at times, incoherent. The performance is so natural and intimate that you may feel embarrassed as if you are peeking in on something private. Both deserve nominations. Phoenix deserves the award.
If anyone is left short, it is the women in the film. Anderson seems more intent on dismantling the struggles of man and Amy Adams, as wife Peggy Dodd is really only given crumbs.
“The Master” is beautifully shot on 70mm film and visually harkens back to the grand epics of the 50’s and 60’s and makes a good case why we shouldn’t go all digital. Jonny Greenwood (guitarist from the band “Radiohead”) provides the score and it is a perfect fit. Disjointed and alive. And, as always, Anderson’s script is a masterpiece. Do not blink during the question and answer scene between Freddie and Dodd. As the words rattle off, rapid fire, it becomes clear that we are witnessing the work of several masters simultaneously.