The Master

    Paul Thomas Anderson has, at least in recent years, become one of Hollywood's most reliable and un-Hollywood directors. Like Christopher Nolan, he makes films that ask questions e.g. Magnolia (Are we more connected than we realise?), Boogie Nights (Is there more than sleaze in the porn scene?), or even There Will Be Blood (At what point is cruelty pushed to evil?). This film, despite whatever message there is to it, is probably Anderson's most culturally relevant film, at least in the tough, terrifying consumerist utopia, where spending money is encouraged, despite the fact that, at least in the UK, we are still ankle deep in recession.
    But yet, almost every day on Tottenham Court Road, the Scientologists persist in making you take a "personality test". Despite an almost worldwide reputation for being dangerous and essentially a cult, even with endorsment from Tom Cruise, one of the most irritating and reprehensible actors in recent times (Don't get me wrong, he's great in Eyes Wide Shut and Rain Man, but his overt proclamation of his beliefs lead me to believe he is copycatting Lindsay Lohan; at first I had a lot of respect for her, but now she's just a joke.) people will persist in believing a pulp fiction author has a sign that Xenu will come down to them at the Apocalypse. Anyway, I'm getting off tracks here, I'm not even talking about Scientology.
    Whatever my views are on Scientology are, it can't have started off too dissimilar to how the religion in this film is made. Called "The Cause", the leader in large overalls valiantly striding down hallways being greeted by applause, cool-headed but subsequently threatening to crack at any minute, and claiming to clear the mind through an almost, one could say brainwashing way. And by God is it a role of a lifetime for Philip Seymour Hoffman. I mean, sure he's fantastic in basically in every role he's in ever. And while some claim is chilling role as Truman Capote in Capote was his shining hour, I'm not sure I agree. If Hoffman doesn't win an Oscar for this, I have lost all faith in the system.
    The plot goes that Freddy played stunningly by Joaquin Phoenix in unrelenting Michael Pitt-esque fashion, a severely disturbed ex-army alcoholic, while escaping one of his colleagues he apparently poisoned, sneaks into a boat, unknown to him it is a boat holding "The Master" and his respective posse of friends convinced by his powers, including his tight-lipped wife, played remarkably straight by Amy Adams, for the wedding of his daughter. Instead of kick out the unruly drunkard, he makes Freddy make more of his brilliant home brew out of paint thinner and several other increasingly dangerous substances. While on the boat, Hoffman sets Freddy a challenge, he has to answer about 20 questions without blinking. This is possibly the best scene in the film. Freddy is cynical at first, gets angrier, then lets all his secrets out to the person he has only known for about a day. It is so disturbing and so heartbreaking to watch Phoenix break down and Hoffman to keep his monotonous voice, when the audience know how much he is being manipulated. This is a framing device for a montage of Freddy walking back and forth from a window to a wall, trying to feel what is really there. This is intercut with strange scenes about eye colour and not caring about what other people say about you. All this is building blocks which are glued together with disconcerting clarinet music which drones on at terrific effect. For the rest of the film, Freddy often uses his inescapably violent behaviour to persuade people to his religion. We are not sure if he is really devoted to the religion or if it is just an excuse to fuck around or beat people around. The scenes are wonderful.
   This is one of the best and disturbing films of the year. It perfectly captures the moral greyness cults use to manipulate and the lead performances are absolutely stunning. Wonderful.

10/10

MT