The Master

In the world of cinema the name Paul Thomas Anderson demands attention.  PT Anderson has delivered such critically acclaimed films as the Daniel Day Lewis epic “There Will Be Blood”, “Boogie Nights”, and “Magnolia”, a film that to call ‘star studded’ would be a vast understatement.  Award winning, and revered amongst modern filmmakers; moviegoers seek out his films on name recognition alone.  A feat not often accomplished in a world drawn to the celebrity of the actors on screen, rather than the mind that created the hero. His latest work, “The Master”, stars Joaquin Phoenix as Freddie Quell, a veteran of World War II in a deep battle with addiction.  Sex, violence, and post traumatic stress plague him as he battles his demons from place to job to torrid scenario, that eventually leads him to Lancaster Dodd (Phillip Seymour Hoffman).  Dodd is the leader of a movement he has named “The Cause”.  Within his movement, through psychological exercise, introspection and teaching, they mean to teach a new philosophy to their followers.  In his broken state, Quell follows obediently; and so goes the remainder of the film.

“He’s making this up as he goes along”

The power of storytelling usually expected from Anderson, and the uncanny abilities of its stars is unfortunately misleading in this case.  I’m familiar with Anderson’s work, and this lead me, with bated breath, for the revelation, the fall, the shoe to drop.   It never did.  The weakness of Phoenix’s character from years of self-abuse and post-traumatic stress left him a broken spirit, who follows Dodd like a lapdog.  I expectantly searched the second and third act for the message of “The Master”, perhaps the message was as simple as the weakness of this addict, or the blind faith displayed throughout; but that alone would hold an innate emptiness and sadness unfitting of the unruly animal in Quell.   No great lesson was learned, no turning point, just psychological abuse for the sake of the weak. Conversely, the performances of Phoenix, Hoffman and Adams would be enough to carry the film, but even then, only to the most devoted of cinephile.  I truly enjoyed and stared with stunned amazement as Quell and Dodd examined one another upon their introduction, or shouted at each other between bars during a prison scene.  It seemed each man is challenged by the other, and had to sink deeper into his own creation to compete.  A masterpiece of their craft; unfortunately, this is not enough to carry a film over 120 minutes.  The few instances where the two viscerally become their scenes are simply not fulfilling enough.  The film becomes less of a story, and more like watching an acting class.

“You are not here, you are asleep”

Several similarities between Dodd’s “Cause” and Scientology have also been raised.  During more than one sequence, the similarities almost bordered on plagiarizing.  The messages and tag lines thrown out by followers of the Cause were near verbatim to those one would hear walking past the Church of Scientology.  Even as far as reincarnation and past experiences affecting our current lives.  Further examples of the parallels between the two include:

• The founder of Scientology, L Ron Hubbard was a Navy veteran of World War II, just like Freddie Quell
• Scientology was founded in 1950, the same year as the setting of “The Master”
• The introduction to Scientology is a process known as “auditing”, not dissimilar from the “processing” of the film.  Many of the questions from the fictional “processing” are verbatim copies to “auditing”
• Dodd is an author, releasing his second book of beliefs and tenets during the film.  L Ron Hubbard was as well, penning “Dianetics” among other works.
• The physical appearance of Dodd is uncannily similar to that of L Ron Hubbard

The Master has completed its theatrical run, and much like the vast majority of Paul Thomas Anderson’s films, has received positive reviews and general critical acclaim.   Despite the accolades of its writer/director, and the obvious talent of its cast in Joaquin Phoenix, Phillip Seymour Hoffman and Amy Adams, and winning several prestigious awards; The Master has not been a financial success, having still not made up for its $35m production budget.