Cult Movie Corner

Honestly, what kind of a proper bio-pic do you call this? Not a single goatee beard to be seen, no-one gets the matter of their tissues compressed to the point of death, and there’s no mention of Axos or the Sea Devils, let alone the Toclafane and the Untempered Schism. I ask you, whatever is the world coming to?

Oh, hang on: word in from the legal department is that Paul Thomas Anderson’s The Master is – and I think emphasis is required here just to cover ourselves – not supposed to be the life story of anyone, living, dead, or regenerated. Glad we got that sorted out. It is, of course, a high-octane personal drama very much in a similar style to There Will Be Blood.

Joaquin Phoenix plays Freddie Quell, who at the start of the film is serving in the US navy towards the end of the Second World War. With customary deftness and economy, Anderson establishes that Freddie is a deeply troubled soul – whether due to his experiences in the service or not is not explored – with a number of serious issues. He drinks, he is socially awkward, and he has a fixation with sex. He is also prone to outbursts of violence. All of this ultimately results in him becoming a homeless drifter.

However, at this point he falls into the orbit of Lancaster Dodd (Philip Seymour Hoffman), a self-styled writer, explorer, physicist and theoretical philosopher. Dodd is the leader of a movement known as the Cause, offering a programme to help people deal with the traumas inherited from former lives (there’s a bit of reincarnation involved, apparently) – which is nevertheless, according to Dodd, rigorously rational. In fact it’s so scientific, it’s like science with an extra -ology! [Cut that out – much too risky – Legal Department]

Dodd takes a shine to Freddie (partly due to to Freddie’s special recipe for cocktails, which includes paint thinner) and Freddie joins the Cause, initially as an enthusiastic follower. But it soon becomes apparent that the relationship between the two men is one of unhealthy co-dependence, and hardly guaranteed to help either of them cope with life’s travails…

Well, there has been some talk that Lancaster Dodd is based on L Ron Hubbard, the sometime SF writer who founded the Church of Scientology, which may explain why Tom Cruise and John Travolta, amongst others, are conspicuously absent from the cast list here. (There have been claims that Hubbard told his peers in the SF community that writing was a mug’s game and the quickest way to get rich quick was to invent your own religion, but this sounds like a shocking calumny to me and I would never believe a word of it [Nice try, let’s see if it works – L.D.]) The film does a cheeky sort of dance on this topic, and Anderson has gone so far to say that Hubbard inspired Dodd, but the film is actually about drifters and seekers in the aftermath of a war, with the cult angle being entirely incidental. Is Dodd (and therefore, really, Hubbard) presented as a charlatan? The film comes very close in a few places, I have to say.

People occasionally suggest to me I should become the leader of my own cult – quite why I’m not really sure, and I’m equally uncertain I  want to know – but having seen The Master I don’t think I have the stamina for it anyway. Possibly I am being over-influenced by Hoffman’s portrayal of the Master, which is the latest in a long line of monumental performances he has delivered in films for Anderson and others. He is quite simply magnetic, and eerily plausible on every level. But he is very nearly matched by Phoenix, who is also utterly convincing as Freddie, albeit in a slightly different way: Hoffman’s turn is one of great subtlety and precision, while Phoenix has a much showier and more physical role. Watching the two of them together in this film, as they frequently are, is spellbinding stuff, although I think – when and if the Oscars are handed out – Hoffman comes out slightly ahead on points.

This is that kind of awards-conscious movie: classy, challenging, and thoughtful. It’s certainly not the sort of film you go to see just to relax and have a nice time – the film is fairly unflinching in some respects. In many ways it reminded me of Anderson’s last film, There Will Be Blood, another burningly intelligent and brilliantly made film built around a great central performance – but one which, for me, struggled in terms of its actual narrative.

It’s the same here, really, particularly the ending – it seems intentionally oblique. Once again, the impression is one of the actors being encouraged to do their thing, with Anderson recording their work with his usual skill – but no real sense of an actual story in mind. Possibly I am wrong and just too dim. And, to be sure, the performances, direction, and photography make this film extremely compelling and satisfying for much of its length. It’s just that, once again, Paul Anderson doesn’t quite deliver the complete package.