Who could be a better student than Freddie Quell? This is one of many themes investigated by Paul Thomas Anderson's inspiring, "The Master". Aptly named, "Quell", is docile, impressionable and disillusioned. Our hero is supposed to be the ideal one, a war vet made up of cowboy heroics, pious servitude and James Dean Mythology, brilliantly captured by Joaquin Phoenix, his veneer is non-existent, someone of no form, no integrity, a man in desperate need of love, a drenched sponge, he's the lost and docile face of brilliant confusion in a film that doesn't quite do him justice, but tries to.
We first meet Quell on an island with seamen, consummating with sand in the form of a giant woman. There's talk of post-traumatic stress disorder from a pragmatic Military psychologist. Once discharged, Quell wanders, drinks and picks fights like Charlies Bukowski's alcoholic, but he does it without any pleasure. His mission, it seems, is blind, and without novelty.
Quell eventually stumbles onto a cult is led by a certain Lancaster Dodd, played by Hoffmann whose like Ned Beatty's omniscient character in "Network", but he's part lovable. Dodd is also occasionally brilliant, yet more often openly doubted by even his followers. His philosophy is partially that of "processing", a hypnotic type treatment meant to cure the experiences of lives long past. Quell is quickly a believer, which makes sense in an odd way, after all, the solutions of this life cannot console him, it is as if he needs the treatment of another world. How legitimate "processing" is in this world is left to interpretation, but it seems to make sense to our alien protagonist and we're never explained why. Our protagonist remains an enigma throughout. It's just not satisfying or engaging.
This occult is obviously a commentary on Scientology as well. No one is allowed to question Dodd's philosophy. No one is allowed to leave and come back. Dodd is awe inspiring because he is also part monster. All of his philosophy's value is placed on the individuals past life, which gives him more control over the students "current" life. There is a lot to wonder about in this piece. It's more philosophy than story. For instance, half way through, I began to wonder if Anderson was commenting on modern psychologies "over" use of altering brain chemistry through medication instead of attempting to deal with personal trauma, but it's hard to tell in a film so laced in metaphor.
From here, the focus becomes less on the philosophy and of a grander treatment itself. Intentionally or not, it becomes more and more difficult to relate to our heroes and it becomes harder for characters to relate to each other. The film captures two Oscar caliber performances that never really connect and what's more problematic is the way by which Anderson fails to develop what each character wants. Each character ends up dynamic, but the weight behind them is light. The supporting cast is even less effective. Amy Adams as the wife is a woman of fire and brimstone and Laura Dern is a nice surprise as a hesitant follower, but their characters, amongst others, do not equal in what becomes a chaotic equation, but one worth pondering. To be short, this work fails to seduce us like Anderson's "Magnolia" a film in which we experience many forms of life. With "The Master" we're pushed further and further away, until we're lost at sea without them.
We first meet Quell on an island with seamen, consummating with sand in the form of a giant woman. There's talk of post-traumatic stress disorder from a pragmatic Military psychologist. Once discharged, Quell wanders, drinks and picks fights like Charlies Bukowski's alcoholic, but he does it without any pleasure. His mission, it seems, is blind, and without novelty.
Quell eventually stumbles onto a cult is led by a certain Lancaster Dodd, played by Hoffmann whose like Ned Beatty's omniscient character in "Network", but he's part lovable. Dodd is also occasionally brilliant, yet more often openly doubted by even his followers. His philosophy is partially that of "processing", a hypnotic type treatment meant to cure the experiences of lives long past. Quell is quickly a believer, which makes sense in an odd way, after all, the solutions of this life cannot console him, it is as if he needs the treatment of another world. How legitimate "processing" is in this world is left to interpretation, but it seems to make sense to our alien protagonist and we're never explained why. Our protagonist remains an enigma throughout. It's just not satisfying or engaging.
This occult is obviously a commentary on Scientology as well. No one is allowed to question Dodd's philosophy. No one is allowed to leave and come back. Dodd is awe inspiring because he is also part monster. All of his philosophy's value is placed on the individuals past life, which gives him more control over the students "current" life. There is a lot to wonder about in this piece. It's more philosophy than story. For instance, half way through, I began to wonder if Anderson was commenting on modern psychologies "over" use of altering brain chemistry through medication instead of attempting to deal with personal trauma, but it's hard to tell in a film so laced in metaphor.
From here, the focus becomes less on the philosophy and of a grander treatment itself. Intentionally or not, it becomes more and more difficult to relate to our heroes and it becomes harder for characters to relate to each other. The film captures two Oscar caliber performances that never really connect and what's more problematic is the way by which Anderson fails to develop what each character wants. Each character ends up dynamic, but the weight behind them is light. The supporting cast is even less effective. Amy Adams as the wife is a woman of fire and brimstone and Laura Dern is a nice surprise as a hesitant follower, but their characters, amongst others, do not equal in what becomes a chaotic equation, but one worth pondering. To be short, this work fails to seduce us like Anderson's "Magnolia" a film in which we experience many forms of life. With "The Master" we're pushed further and further away, until we're lost at sea without them.