Paul Thomas Anderson has always been a little hit or miss for me as a director. Some of his films I consider indelible classics – like BOOGIE NIGHTS and THERE WILL BE BLOOD. Others like MAGNOLIA just seem overly long and meandering, or PUNCH-DRUNK LOVE which seemed short and pointless (yes, I know that movie has its fans). His newest is THE MASTER, which stars Joaquin Phoenix and Philip Seymour Hoffman in a powerful narrative revolving around living in what is essentially a cult. It’s been hailed as Oscar-worthy, and by some critics as a lock for certain categories – but we hear that sort of thing every year, and at times it seems more than a bit premature.

Set in 1950, THE MASTER weaves the story of Freddie Quill (Joaquin Phoenix), a Naval vet with some serious social issues. After a brief montage of his unusual moments in the Navy, we’re brought up to his current working environment, which at first finds him as a department store portrait photographer. When no one is looking, Freddie likes to drink wild concoctions of alcohol and… well, things that probably shouldn’t be mixed with alcohol, or consumed. These drinking spells keep him in a state of ease, but not without occasional bouts of expected rage. On another job he shares his drink with a co-worker, who nearly dies from it. Freddie doesn’t seem to belong anywhere, and one night climbs aboard a party ship looking for shelter. The next morning he meets the party host Lancaster Dodd (Philip Seymour Hoffman), an enigmatic man who charmingly invites Quill to stick around, asking only that he make some more of his wonderful concoction for them to drink together later. Seeing few alternatives for him in the normal world, Freddie becomes immersed in Dodd’s universe and group referred to as “The Cause.” He’s not as well-received by Lancaster’s wife Peggy (Amy Adams), who sees this drunken newcomer as a potential threat to the Dodd’s plans. As Freddie gives body and soul to Lancaster to receive help, he also begins to realize that “The Cause” and the people who are part of it may be something rather unhealthy in its own right.

One thing that’s certain about THE MASTER as a movie is that it features two of the most impressive acting performances of the year in both Joaquin Phoenix and Philip Seymour Hoffman. The word “powerhouse” comes to mind, but doesn’t even cover the depths these two roles allow. After being out of the mainstream for a few years, Phoenix shows the strength of his range playing Freddie. It’s a complex character and his portrayal is inspired and fascinating to watch. Little things like body language are used to intense degrees, and even Phoenix’s speech pattern seems to be channeling something very unique. While not a likable fellow, Freddie Quill is definitely one of the more interesting cinematic personas of 2012. Then there’s Hoffman, who relishes every second of playing Lancaster Dodd, exuding charm and confidence but with a seething anger hidden underneath. He’s instantly endearing to the audience, but we also feel conflicted for liking him. There are multiple scenes with these two actors together that are simply fantastic, the kind of thing instructors could show in acting classes. Amy Adams should also be commended – though she has considerably less screen time than the two leads, the actress makes the most of her memorable moments. Some question whether her character is actually “The Master” the film keeps referring to, but that could be interpreted in many ways.

Outside of the stellar performances, THE MASTER also excels at showing a cult lifestyle without falling into the trappings of making things overly creepy. This group of people is not a frightening lot, but rather an interesting and different choice in daily habits. Dodd’s words in some ways seem intriguing, though ultimately fabricated for a purpose. Even his son in the film (played by the always likable Jesse Plemons) tells Freddie “He’s making all of this up as he goes along”, indicating that not everyone around Lancaster truly believes in his words. But there’s also the idea of being an outcast, and what the comfort of finding a group with which you can (hopefully) fit in… if you can adhere to their ethics and practices. The idea of this cult life is what not only drives the film, but makes it a fascinating experience. Many parallels have already been made about the similarities to the story and the practice of scientology, so much so that some scientologists have taken steps to boycott this production. Personally I feel this is more about the practice and potential allure of any sort of cult, and how one could understandably find it welcoming, or at the very least compelling.

As much as certain things work to great effect in the film, there’s things here that also do not work. In the end there’s a lack of fulfillment with the entire process. Like many of Paul Thomas Anderson’s movies, this is ultimately a rather depressing production, and could easily be labeled “unsatisfying” to many. At some point in any film you have to ask what the message is, and in the end there seems to be none, other than perhaps answering why people are drawn to strange things. For two hours and 17 minutes (granted, nowhere near Anderson’s longest running time) the story just seems to meander about, never really arcing or evolving. In one moment late in the film, Freddie appears to be “drinking the Kool-Aid” as it were, but even that never seems to extend to its potential fruition. I kept waiting for all of this to lead somewhere, and it never really does. What we’re left with is two phenomenal performances from two very capable leading men, inside an interesting yet ineffectual narrative. I left wanting more, yet feeling like I had seen all I needed to – which tells me the average moviegoer is probably not going to like it. This also shouldn’t be labeled as a movie that is too intellectual for the average film fan, as it’s fairly easy to follow, there’s just no real payoff for the effort. It also seems that in recent years Paul Thomas Anderson is moving away from using big ensemble casts, something he used to be well known for. Outside of the main three stars, only brief appearances by Laura Dern and Kevin J. O’Connor give the faces on screen much familiarity – not a bad thing, just something I miss about PTA’s productions.

THE MASTER is a movie that could easily be discussed in depth for days, and different people would likely have wildly varying theories on what it’s all supposed to mean. But in the end I don’t think the film is necessarily trying to mean anything, rather it’s just trying to show you these people for who they are and what they do, and what happens when different personalities collide. There’s great stuff here and the acting is beyond superb, but the end result is something many will likely find more deficient than dynamic. All of that said, I oddly enough want to see it again… if only to watch Joaquin Phoenix and Philip Seymour Hoffman solidify their Oscar nominations.

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