The Master (2012)

- Seductive and bewildering

1952. A marine named Freddie Quell returns from war. But he is not the same man anymore. Fighting obviously left deep scars in his soul and on his body. His walk is unstable, his face always feirce and his stare empty. Freddie is in search of something which even he can't identify. Something to give him a hold and orientation. Aimless he wanders around, wasting his time, sleeping whereever he can find a place to stay. Every once in a while he gets into trouble. He is unbalanced and has an unreckonable temper. He can't controll his actions and his behaviour can revert instantly into violence. On his rambles through the states he coincidentally finds himself on a ship owned by Lancaster Dodd, a charismatic founder of a union named "The Cause". Dodd is strangely fascinated by Freddie. He offers him help and invites him to stay.

In the cults inner circles Freddie meets new people and makes some new friends. Soon he is acquainted with the common methods like "Processing" that Dodd developed to cure mental illnesses. The Master, as Dodd is to be called, makes Freddie his prime patient. The procedure begins. Freddie, desperate as he is, participates even though he doesn't really understand what he is doing or where this thing is going, just like the audience.

"The Master" is audacious arthouse cinema at its best. Arrestingly staged and masterfully acted. With his latest work writer/director Paul Thomas Anderson takes another step into uncertainty and loosens almost completely from narrative constraints or conventions. In opposition to his earlier ensemble pieces like "Boogie Nights" and "Magnolia" that were both relying quite heavily on narrative, he leaps into a lot more abstract, hardly tangible territory with a story that's deliberately missing a clear line to follow.

First of all, the film's most captivating aspect is provided by the two main actors, who fight a highly intense psychological battle. Joaquin Phoenix embodies the insecure veteran in search for answers. The Master is played by Philip Seymour Hofmann, who perfectly finds the sweet spot between calm and eloquent composure and tough, uncompromising obsession. His character is always ambiguous and mysterious and resembles the presence and charisma of screen legends like Orson Welles.
Still not everyone is convinced by the Master's doctrines. Radically he scotches critique from outside the community. But even within the cult, in his own family, there are people who doubt or reject his views. And does the Master believe in his own creation? What's the role of his mysterious and creepy wife (Amy Adams) who is constantly sneaking around in the background and seems to closely observe everything that's going on?
Freddie, who is easy to manipulate, is increasingly confused by the inconsistencies he witnesses. He demands and needs clarity. He is the lost son, who has lost his way. But can he be sure if he found the right leader in the Master?

Just like the drifter Freddie, the audience steadily undergoes the shifting stages of satisfaction, doubt and anger. The loose story often creates a feeling of being just as lost as the protagonist. But Anderson comes up with these strong, complex characters who easily can pull through the entire movie. Anderson is able to build up tremendous amounts of tension just through dialog and face to face encounters, especially in the unrelenting scenes of "processing". All the repetition and the uncompromising approach make it easy to empathize with Freddy and identify with his situation. Joaquin Phoenix gives the very best performance of the year, even though Daniel Day Lewis had the longer straw at the Oscars.

Not from a lesser quality is the visual experience. As an advocate for old school film making and the slowly disappearing celluloid Anderson shot "The Master" in the rarely used, expensive 70mm format. By using long takes and intimidating close-ups the film establishes a hypnotic atmosphere that is supported by a weird, oppressive soundtrack playing in the background throughout the whole movie. There is also a wonderful tracking shot at the beginning of the film where Anderson demonstrates all his skill and class. A wonderful mix of movement and seamlessly shifting depth of field. Even if you find the kafkaesque story hard to digest, as a movie-lover you will certainly be able to enjoy this film on the level of state-of-the-art craftsmanship.

Considering the story, it's about what you want to make of it. Anderson doesn't offer an easy answer. In one scene when the Master explains the long, burdensome way that one has to go to find catharsis, Freddie desperately responds that he just doesn't understand it. The Master soberly answers that he doesn't understand it either but that's what we are here for.

Open-mindedness is essential for this film. But if you are willing to let it happen you will inevitable fall into a state of wonder and fascination. Like Freddie Quell you may search for an answer. Some moviegoers may find enlightment, others will be distracted by the unflinching and enigmatic work and probably be frustrated at the end of the film.

Either way, this film is a phenomenon and this is my outing as a loyal follower.

TRAILER:

Watch the Trailer for "The Master" on Youtube