The costume and production design reflect a prodigious attention to detail, and greatly enhance the ‘50s feel. Alongside Jonny Greenwood’s impressive score, songs by Ella Fitzgerald and Jo Stafford complement the film’s beauty.
The camerawork is stunning as per usual with Anderson: full of long takes, tracking shots, close-ups, and breathtaking scenery.
Outside of its technical prowess, “The Master” shines in its exploration of its two leading men. Paul Thomas Anderson’s writing chooses to ignore conventional storytelling, commenting more on human nature and the dangers of excessive power and radical belief.
There is a strong focus on the relationship between Quell and Dodd that can be interpreted in dozens of ways, be it master and slave, father and son, brothers in arms, or even the subtlest unrequited romance.
Joaquin Phoenix and Philip Seymour Hoffman are crucial to the film and work as its driving force, leaving even Amy Adams’ great performance behind in the dust.
Phoenix dives right into character in an unrestrained, animalistic performance. There is no hint of hesitation, and the switch from fury to childish delight often catches the viewer off guard.
Hoffman is downright magical as the titular Master, a man with a cool demeanor who knows how to speak and understands how to be a leader. While his controlled performance alone is a marvel, it is the scenes in which the great man’s facade fades away that we see Hoffman’s true talent.
Both actors’ outbursts never cease to unsettle the viewer, as one never really knows when this seemingly safe, but ultimately very strange, place could turn violent.
Some who enter “The Master” without leaving their expectations at the door might find themselves disappointed by how different it is from what they’d expected. Those who can put preconceived notions of storytelling behind and submit themselves to Anderson’s methods will find it a masterpiece.