The Master Found Paul Thomas Anderson (And America) at the Crossroads

When I first saw “The Master” hit theaters 10 years ago, I found it to be a gripping if unpleasant mystery, starting with its beautiful opening scene of sea water as blue as a churning sky. forced (the ocean image becomes a motif that includes deeper meanings as the story progresses). It’s a film as capricious as Freddie, a drunkard who drinks his homemade moonshine, adores every other woman he has his eye on and violently attacks anyone who dares question Dodd and The Cause, even after Freddie himself yelled at Dodd, accused him of “making this shit up.” Phoenix carries the trauma of his character in every facial expression or body movement he makes, to the point where it becomes painful to look at him at times.

Equally impressive (and unsettling) is Hoffman as Dodd, an authoritarian colleague who explains his nonsense about how humans are not mammals and exist in a form some time in trillions of years with a confidence unmatched by some former American president. The pair are all too similar in different ways, especially in their habit of repeating the same rubbish over and over to their followers – getting the idea deep into their heads to ensure continued loyalty, no their doubts – and swearing or swearing at them. who dare try to expose their lies for what they are. (Suffice it to say, “The Master” has only taken on new forms of social relevance over the past decade.) Together, Freddie and Dodd form a toxic yin-yang, as if they were two sides of the same coin. the same person in the flesh. The Master Found Paul Thomas Anderson (And America) at the Crossroads

Fry Electronics Team

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