❝If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.❞
𐄁─────⋆⁺‧₊☽ ◯ ☾₊‧⁺⋆─────𐄁
I honestly felt like I was having an out-of-body experience while watching The Master. And I think it boils down to seeing a man so consumed by trauma he falls for any small semblance of family that comes his way, while the cult's leader takes him on because a broken person makes the perfect victim. I was also getting some homoerotic subtexts, but I might be overthinking things.
Man, do I miss Philip Seymour Hoffman; his performance was extraordinary. Calm, calculating, silver-tongued, all the qualities you'd expect from cult leader, and the exact opposite of Joaquin Phoenix's hot-blooded Freddie. But I really didn't anticipate Amy Adams' character to be so cold and brutal, very different to what I'd expect from a brainwashed cult member.
I think this film really showcases the differences between PTA's old versus new work; there's a lot more focus on character psychology and authenticity. They feel way more grounded, and their emotional complexities are explored more through dialogue and subtle acting (e.g. the Processing scenes with Philip and Joaquin at the forefront); there's also a more patient and deliberate pace set throughout the film, allowing moments to breathe after especially intense scenes. And the music by Jonny Greenwood captures the atmosphere of the film beautifully; delicate and melancholy, with a very noticeable edge.
I think it's definitely worth revisiting The Master in the future, to help me analyse and appreciate it a bit more keenly, but I'd still highly recommend giving it a watch.
❝If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.❞
𐄁─────⋆⁺‧₊☽ ◯ ☾₊‧⁺⋆─────𐄁
I honestly felt like I was having an out-of-body experience while watching The Master. And I think it boils down to seeing a man so consumed by trauma he falls for any small semblance of family that comes his way, while the cult's leader takes him on because a broken person makes the perfect victim. I was also getting some homoerotic subtexts, but I might be overthinking things.
Man, do I miss Philip Seymour Hoffman; his performance was extraordinary. Calm, calculating, silver-tongued, all the qualities you'd expect from cult leader, and the exact opposite of Joaquin Phoenix's hot-blooded Freddie. But I really didn't anticipate Amy Adams' character to be so cold and brutal, very different to what I'd expect from a brainwashed cult member.
I think this film really showcases the differences between PTA's old versus new work; there's a lot more focus on character psychology and authenticity. They feel way more grounded, and their emotional complexities are explored more through dialogue and subtle acting (e.g. the Processing scenes with Philip and Joaquin at the forefront); there's also a more patient and deliberate pace set throughout the film, allowing moments to breathe after especially intense scenes. And the music by Jonny Greenwood captures the atmosphere of the film beautifully; delicate and melancholy, with a very noticeable edge.
I think it's definitely worth revisiting The Master in the future, to help me analyse and appreciate it a bit more keenly, but I'd still highly recommend giving it a watch.
8
