The Master

[acsc1312]

Just a hunch, but my guess is that the Academy is treating Robert Elswit the same way they are Wally Pfister. Elswit won for TWBB and The Master is really an extension of that. Ditto for Pfister (after winning for Inception) and his work in TDK and Inception extending into TDKR.It was a hard year for that category. Most other years, I think Elswit and Pfister both get nominated.

It definitely was a very strong year for cinematography. The academy might have thought it was elswit, but PTA used a new cinematographer for this, as elswit was committed to something else. Also, it does get (even) better after multiple viewings.

[Michael Gary Scott]

So coolio and gopher will be shocked to learn this but I liked the master. And jack I agree with you Phoenix should of won best actor. The movie engrossed me the whole way. 4/5

[DAR]

First the good. Hoffman as always was terrific. And I agree cinematography was gorgeous. Other than that I really didn't like it. The film failed to engage me on any kind of emotional level because I didn't care for Freddie's journey in the film and by the time the movie got to Phoenix I had enough. C-

[acsc1312]

First the good. Hoffman as always was terrific. And I agree cinematography was gorgeous. Other than that I really didn't like it. The film failed to engage me on any kind of emotional level because I didn't care for Freddie's journey in the film and by the time the movie got to Phoenix I had enough. C-

 

[DAR]

Sorry man. I will say this when I first saw TWBB I thought it was just okay but a later viewing pushed it to a film I liked but still don't love. So there might be some hope, but I don't have a desire to watch it again anytime soon.And even though I didn't like the film I'm glad the movies have a PTA working right now who does make films like this, that doesn't look like every film out there.

[acsc1312]

Sorry man. I will say this when I first saw TWBB I thought it was just okay but a later viewing pushed it to a film I liked but still don't love. So there might be some hope, but I don't have a desire to watch it again anytime soon.And even though I didn't like the film I'm glad the movies have a PTA working right now who does make films like this, that doesn't look like every film out there.

 

 

No prob. I'm just glad you have a reasonable argument as to why you don't like it rather than just bashing it for the hell of it. I understand it's not for everyone, but like you said, thank God PTA has the opportunity to make original films.

[Gopher]

We talk all about the look and performances of PTA movies, but man does the guy have an ear for dialogue. His expressions are so natural and organic yet they're extraordinarily effective. It felt like Dodd was the only character who ever talked in complete sentences. 

[acsc1312]

We talk all about the look and performances of PTA movies, but man does the guy have an ear for dialogue. His expressions are so natural and organic yet they're extraordinarily effective. It felt like Dodd was the only character who ever talked in complete sentences. 

 

He's my favorite writer, possibly of all time. I need to buy all of his screenplays. Magnolia still blows my mind every time I watch it. His characters are so real and relatable.

[acsc1312]

Also, if anyone had any question who really ran the show, and why Adams' performance was so spectacular in this, here's an excerpt from the early script:

 

Peggy:

Do it. And get your best behavior out...c** for me

 

Master:

Yes, Master

 

Peggy:

And no more of that boy's booze

 

Master:

Yes, Master

 

[Michael Gary Scott]

The cinematography was also excellent.

[Jake Gittes]

Just a hunch, but my guess is that the Academy is treating Robert Elswit the same way they are Wally Pfister. Elswit won for TWBB and The Master is really an extension of that. Ditto for Pfister (after winning for Inception) and his work in TDK and Inception extending into TDKR.

 

It was a hard year for that category. Most other years, I think Elswit and Pfister both get nominated.

This is actually PTA's first film that wasn't shot by Elswit. The cinematographer was Mihai Malaimare Jr., who previously shot Coppola's Tetro... and I don't think much else. He's a relative newcomer, but even without a nomination must have established himself very well with The Master, I'm sure plenty of directors would like him as their DP now.

[Jake Gittes]

I also have to say that after two viewings I was convinced I wasn't a fan of the film. To me it was a very rare movie in which, on the surface, everything worked spectacularly - the characters & performances, the dialogue, the cinematography, the soundtrack, etc. - but the one crucial element that wasn't there was that little spark which would give it all life. Everything was there, gorgeous and moving with a fine pace, but I just couldn't establish an emotional connection with anything for longer than 15 minutes, and the further the narrative went, the less focused it became. By the end I thought PTA himself was so entranced by all the possibilities the premise and the characters would provide (1950s America! a cult! a drifting war vet! a girl that he left behind! an idealistic, well-intentioned leader of said cult! his wife who is the real Master! his son who doesn't believe him! bored lonely housewifes who worship him! sceptics calling him out on his bullshit! etc etc etc) that he couldn't decide just what exactly to make a film about. So he made one that was pretty much about all of the above but at the same time about none of it, because there's no focus. Themes, ideas pop up throughout, never to stay for longer than several consecutive scenes, sometimes to reappear again down the road; they are ever-moving, ever-fleeting and nothing, in the end, truly hooked me.

 

When it comes to the PTA filmography, as far as I'm concerned, There Will Be Blood and Punch-Drunk Love trump The Master any day of the week. Boogie Nights is better as well. Magnolia and The Master are the two films that have quite a bit going for them but are also flawed in some important ways. I need to revisit Hard Eight, but from what I remember it was a perfectly good movie, just a slight one. 

[Gopher]

You're obviously not the first person who's believed that there's greatness in the film but it still left you cold. It comes down to the emotional connection you establish with Quell and Dodd. From the first shot of Quell's eyes peering out of that ship, I was hooked. I didn't need to see what Quell had seen in the war. I could see in Joaquin Phoenix's eyes that this was a distressed man. A ship lost at sea. 

[Jack Nevada]

I actually like The Master more than Boogie Nights cause Boogie Nights imo loses much of the spark as it goes into the 80's, but The Master is equally captivating the whole way through.

[Gopher]

I don't care to line up PTA's filmography. Magnolia, The Master, There Will Be Blood and Boogie Nights are all masterpieces IMO. Punch Drunk Love is a very good film and a very interesting one, but I just think there's less going on there than in the rest of his body of work. 

[Jack Nevada]

tbh I didn't really care for Punch Drunk Love. Adam Sandler is good in it, PSH has a hilarious cameo, the sound design is some of the best ever and there are a lot of interesting ideas presented, but to me it was just kinda uncomfortable and not very satisfying.

Edited March 1, 2013 by Jack Nevada

[Kvikk Lunsj]

Loved it! This might be the best movie of the year.

[Michael Gary Scott]

I'm glad I didn't hate it!

[Jack Nevada]

I'm glad I didn't hate it!

Have you seen any other PTA films?

[Jake Gittes]

Personally the more I reflect on PDL the more I love it. There is a lot going on despite the short running time, which makes it fully realized but not overwhelming, visually it's perfectly composed and edited... I don't want to go on too long about it now, but it's to me a romantic comedy in which virtually every single aspect gets re-invented in an inspired and smart fashion. Sandler and Watson are perfect together and I especially appreciate PDL as the first truly original film PTA has made - watching it right after Boogie Nights and Magnolia for the first time, I really got the impression that PTA finally got all his Scorsese & Altman aspirations off his chest and became an artist standing firmly on his own feet. 

Edited March 1, 2013 by Jake Gittes