The Master

Recently, I've seen a lot of lists online naming the so-called "Best Directors of the Modern Era." There are parts of the lists I don't agree with, parts I would change, but I always agree with the inclusion of Paul Thomas Anderson. Anderson is unique in his talent; few other directors get the performances from their actors Anderson does. Almost no one else puts the detail into their cinematic worlds Anderson does, and nobody does character pieces like Anderson does. Even in this world of Quentin Tarantino and Christopher Nolan, Paul Thomas Anderson has his own niche that no one can touch. For me, The Master only elevates him more. World War Two veteran Freddie Quell (Joaquin Phoenix) is doing pretty badly. He's an alcoholic, he's vulgar, violent, abrasive, promiscuous, and alone. One night while intoxicated on his homemade paint-thinner moonshine, Freddie takes refuge on a yacht belonging to Lancaster Dodd (Philip Seymour-Hoffman), a charismatic intellectual and leader of "The Cause," a religious movement based in Dodd's writings. Dodd and his wife (Amy Adams) take Freddie in as a patient, and Dodd in particular becomes attached to him. Freddie travels the country with The Cause, hoping to find his purpose and curb his PTSD. But his cycle of depression and self-destruction only seems to get worse, and threatens to bring everyone down with him. The Master is not the scientology story. It's not a commentary on said group, it's not a fictionalized origin story, and it's not a biopic. The film's trailers unfortunately marketed it as such, and while Lancaster Dodd's character is clearly based a lot on L. Ron Hubbard, The Master isn't really about him or The Cause. Rather, Freddie Quell is the subject here; he carries the film, and while his friendship with Dodd is a huge part of the film, at the end it's about Freddie. And as a result, The Master is a much richer experience then it would be as a scientology movie. Paul Thomas Anderson knew exactly what he was doing while writing the film, and it makes the movie very worthwhile. But the most impressive part of The Master is the directing. Everything from the dialogue to the scene structure to the jackets on the books Philip Seymour-Hoffman carries around is so thought out and perfectly placed it's ridiculous. The Master is one of those films with a story but without a real narrative, and if you let it take you in you won't regret it. And the acting, dear lord the acting. Everything about the lead performances is noteworthy. Their body language, how they talk, it's incredible. Joaquin Phoenix and Philip Seymour-Hoffman are very captivating in their roles, and are both completely Oscar-worthy. You have to be willing to let The Master wash over you. If you go into it expecting a hardcore slam of scientology through the eyes of Daniel Plainview, you will be disappointed. Each of Paul Thomas Anderson's films is different, so when you watch this one, don't compare it to Boogie Nights or Magnolia, etc. Just dive into this film. Let the characters, the story, and the production flow. Be a transparent eyeball. Enjoy yourself. The Master is a brilliant rumination on post WWII America, and being emotionally detached and isolated from everything, especially the plastique of the time. It's unbelievably well acted and shot and written and directed. It's just a great piece of American filmmaking.