The Master

"He's Making All This Up As He Goes Along..."

Paul Thomas Anderson has long been one of my favorite working directors - quite possibly my single most favorite director, along with the Coens. They are both masters of highly original work that only they could make. Tarantino, one of my other favorite filmmakers, makes films that only he could create, but he doesn't have a perfect track record (nor do the Coens, but their finest films are pure brilliance), and Tarantino has a style that is clearly evident in every single one of his films (pop culture references, loads of dialogue, etc.). I have read his script for Django Unchained, and it certainly doesn't deviate from that style. It is a good script (aside from the disappointing final act - a problem in many Tarantino films). I await that film with great anticipation.

Back to Anderson. I fell in love with him when I first saw Boogie Nights, early in my film-watching career. The ensemble film about the rise and fall of a porn star during the Golden Era of pornography, with its stylish and utterly phenomenal use of music, to its array of unique and fascinating characters, to the sheer brilliance of filmmaking on display gave me a cinematic boner. I next saw, in theatres, There Will Be Blood, which was one of the best theatrical experiences I've ever had (along with Grindhouse, The Dark Knight, and Superbad. It was my second favorite film of the year, behind No Country for Old Men. It was certainly more ambitious and epic in scope than No Country, and it was a magical experience for me. That's saying something, because I knew nothing about it (I can't say the trailer was very compelling to me at the age of 17, when I had seen few films). And I was definitely prejudiced against longer-films (my attention span back then was limited at best), as well as period pieces. No matter. I was riveted from the very opening to the dark, gleefully over-the-top, much talked about final scene.

It was after seeing There Will Be Blood that I sought out Anderson's other films. I watched Hard Eight. Loved it. I watched Magnolia. *Really* loved it. I watched Punch-Drunk Love, which I also loved. I even sought out, and eventually found, online copies of Cigarettes & Coffee (the short film basis for Hard Eight), as well as his 1988 short film, The Dirk Diggler Story. I absorbed everything PT Anderson. And ever since that life-changing moment on January 25, 2008 at the Rave Cinemas Theatre (I credit There Will Be Blood along with Pulp Fiction, Grindhouse, and No Country for Old Men for thrusting me into the world of screenwriting - for best or for worse), I have awaited his next film. And this month, I was finally able to see it.

Before opening in wide, it had a run (as most films of this ilk do), in limited release. Usually reserved for such larger cities as New York or Los Angeles, meaning I couldn't see it until its wide release. I generally avoid reading reviews of films before I see them, 1) so as to not taint my opinion of the film, and 2) to avoid spoilers.... however #2 was moot as I had read the script a while back when it was floating around as The Untitled Scientology Script. But, I couldn't resist, and read a few reviews of the film from reviewers (and friends) that I greatly respect. None of them were overly enthusiastic, and many were downright negative. The general consensus of these films was that The Master was muddled, boring, incoherent at times, and too ambiguous and inexplicable at times. So, while I initally had high hopes for the film, I went in with much lower expectations, and in fact was prepared to be disappointed due to these reviews and opinions from those who I respect. I must say, and this is not out of some loyalty to Anderson (I'm readily open to hate any film I see, even from filmmakers I most admire - just ask me about The Hudsucker Proxy or The Ladykillers), that The Master was as spell-binding as its titular character (in an Oscar-worthy performance from P.S. Hoffman), and one of the best films of this new century (and certainly the best of the year so far). Joaquin Phoenix seems destined to win an Oscar, unless another film showcases some kind of miracle of a performance this year. He takes the complex, highly original character of Freddie Quell and doesn't just make it his own - he BECOMES Freddie. Not for a moment was I unconvinced of his performance, not for a moment did I detect a flaw in performance. The same goes for Phil Hoffman, as well as Amy Adams, who gets little screen time compared to the other two, but she's in total command of her character.

To describe the plot may not be a waste of words, but it seems pointless. The beauty of this film is the unveiling of each plot point. Not to mention, the masterclass acting on display, and the perfection of the filmmaking. The score, the cinematography, the set design... everything is perfect. But, a little on the plot: when the film first opens, we see Freddie on a ship during WWII. Not long after the opening, the end of the war is announced, and Freddie is released back into society. One of the most stunning images (which is repeated symbolically several times in the film) is the wake from the ship in the deep blue ocean. The colors are gorgeous. And people say "film" is dead. Anderson filmed this in glorious 70mm (though I saw a digital projection of it), and it's simple gorgeous.

After Freddie is introduced to society, he drifts from one job to another, drinking and getting in trouble, until he sneaks onto the ship of Lancaster Dodd, aka The Master (Phil Hoffman). From there, the plot develops, never as we expect, and that is one of its truly great joys. I shall describe it no further, other than to say there are two exceptional scenes - one between Dodd and Freddie as Dodd questions Freddie about his past. This could have been a droll, boring Q&A session. Anderson elevates the material to make it absolutely riveting. The other is a scene in jail, brilliantly, with nothing more than visuals, showing the differences (and ultimately similarities) between Master and Freddie.

Anderson has, with The Master, continued his streak of creating daringly original, beautifully filmed, exceptionally acted pieces of art. This film is far from boring; far from shallow; far from confusing and incoherent. It certainly deserves a second viewing, but don't all great films?

Also curious to note is that 90% of the first teaser trailer, and at least half of the second teaser trailer has footage that is not found in the film. Very interesting marketing campaign this film has run.

A must see for any cineast.

****/****