THE MASTER

US, 2012, 138 minutes, Colour.

Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Rami Malek, Ambyr Childers, Jesse Plemons, Jilian Bell, Laura Dern.

Directed by Paul Thomas Anderson

The Master implies a disciple. This quite long film spends its first fifteen minutes offering a sketch of the disciple, Freddy Quell (Joaquin Phoenix). At the end of World War II, he is on a Pacific Island with a squad, mucking around, sex-preoccupied, chopping cocoanuts and making liquors. Then he is in rehabilitation, mentally affected by his navy experiences and fighting the Japanese. He becomes a photographer in a large store (still drinking, still sexually active) but fights with a customer. He picks cabbages, still drinking. When an old man dies because of his alcohol concoction, Freddy flees, jumping aboard a cruise ship.

When he comes to, he meets the Master, Lancaster Dodd (Philip Seymour Hoffman), a benign looking presence with a way with words (and sometimes breaking into song). His pregnant wife (Amy Addams) assists him. There is an entourage for the wedding of his daughter, which the master conducts.

The bulk of the film concerns the friendship between master and disciple (sometimes touches of the intimate). We watch the charm of the master as well as his relentless ‘processes’, more repetitive and relentless, than military training or old-style religious novitiates. In urging Freddy to recover memories, re-live his past, the master is exercising a kind of brainwashing. Freddy becomes more and more dependent, sometimes resisting (and drinking), sometimes adopting the master as a father-figure.

There is an alarming episode when the master is arrested because of accusations of financial fraud and is jailed, as is Freddy who has violently taken on the arresting officers. It is a frantic breaking point for Freddy.

At times, the master’s wife is more stern and demanding on Freddy than the master is. She is suspicious of Freddy’s motives, perhaps a spy.

The film does not offer a neat ending. It is quite open. The master expands his ministry to England. Freddy rides away, lapsing into his old way of life.

There has been much comment on the links between the film and Scientology. Whether this be the case or not, The Master and the portrait of Lancaster Dodd, his presumptions about himself, his alleged mysticism, his writings (with Dianetic overtones), his making it up as he goes along, suggest how L. Ron Hubbard might have developed Scientology. (Paul Thomas Anderson also referred to the life of John Steinbeck and Navy stories told him by Jason Robards.) The portrait of Freddy reminds us of searching people and the need for some kind of leadership, even dependence.

Paul Thomas Anderson continues his thoughtful studies of disturbed characters and disturbing situations, Boogie Nights, Magnolia and There Will Be Blood.

1. The role of cults and cult leaders in the US on the 20^th century? References to L.Ron Hubbard? Writings, seminars, behaviour and control?
2. The settings, World War II, the Navy, after the war, jobs for former Navy personnel, coping or not? Rehabilitation processes? The contrast with the yacht, the world of Lancaster Dodd, ‘s homes, meeting places, seminars, conferences? And the scenes of bikes in the desert? The musical score?
3. The structure of the film, the double focus, on Freddy, on Dodd? Intertwining of the themes? The interdependence of the characters? The influence of each on each?
4. Freddy, first seen after the war, on the beach, the large woman figure in the sand, sexual overtones? The fellow sailors and their style? The flashbacks to the war, Freddy and his service, its effect? Rehabilitation sequences? After the war, jobs, photography and the fight, his brew in the poisoning of the old man, his flight? The visit to Doris, her place in his memory? His getting on the ship, the encounter with Dodd? Dodd taking an interest in him, his drinking, the making of the brew and its poisonous contents, the bond between the two?
5. Lancaster Dodd’s, age, experience, his opinion of himself, his studies in philosophy, his theories, his writings? His setting himself up, The Cause? His relationship with his wife, love, yet her dominance and control? His daughter, son-in-law, the celebration of their marriage? His interest in Freddy, Freddy the wedding, the alcoholic drink, the discussions? Dodd’s beliefs, informal lives and meetings? The intrigue with Freddy and previous lives?
6. Dodd, his seminars, the fashionable clients, the critic and his denunciation, hypnotism, questioning the philosophy, Dodd and his reaction, anti-hypnotism, waking people up to themselves? Freddy, his listening, bashing the critic? Dodd and applause, reputation, 1950? The later criticisms, the charges against him for appropriating money, his arrest, Freddy fighting with the police, his arrest? In jail? The conversations and interactions?
7. Dodd and his experiments with Freddy, the private consultation, the close-ups, the list of questions, repeated, the effect on Freddy, eliciting memories? About his life, his parents, sex with his aunt, memories of Doris? His drinking? The further questions, his not being allowed to blink, starting the questions again? The overall effect of the experience? Yet his continuing to drink, Mrs Dodd and her criticism? But a sense of belonging, loyalty? Brainwashing? Father-figure?
8. The travels, New York, Philadelphia and the social set, The Cause and Dodd’s meetings?
9. Further experiments with Freddy, the wall and the window, eyes closed, the audience observing? The psychological effect on Fredy? The repetitions? The memories?
10. The family and their suspicions, dislike of Freddy, complaining to Dodd? The encounter, the three, Dodd, Freddy and his son-in-law?
11. The buildup to the first conference, mid-1950? Phoenix? The crowds, Dodd’s preparing, celebrity, his speech, talk of laughter? Freddy, and discussions with the publisher, the publisher critical, and Freddy bashing him?
12. Freddy and Dodd going to the desert, the digging up of the case, the book, its publication, its theories? Adulation? The socialite, Helen, her questioning the methodology, Dodd roaring at her?
13. Freddy, out in the desert, the family, the motor bike, driving fast or to destination, Freddy driving away and disappearing?
14. Freddy, his visit in the past to Doris, his love for her, her being young, her affection for him? His going away, not returning? Coming back, the discussions with her mother, Doris married with children?
15. Freddy, sitting in the cinema, tracked down by Dodd? The invitation to come to London? The progress of The Cause, Dodd’s wife and her criticism of his drinking? Dodd, inviting him to stay, the intimacy of Dodd singing Slow Boat to China and its lyrics? Giving him an ultimatum, if they were to meet in another life, Dodd would be a ruthless enemy?
16. The final, Freddy, gaunt, separated from Dodd, drifting, the prostitute and the sequence with her?