The Master *** (out of five)
That’s a shame because the subject matter is rich. Set immediately following the second world war and up to 1950 in the United States, The Master charts the early days of a growing cult that is very obviously inspired by Scientology (while not being about Scientology precisely). The L. Ron Hubbard character is here called Lancaster Dodd (Hoffman), who is obviously a charlatan but may or may not believe his own pronouncements, which include believing in past lives extending back trillions of years. The audience’s point of entry into this world is Freddie (Phoenix), a very troubled young veteran who mixes up a mean brand of personal moonshine. When Freddie stows away on a ship being used by Dodd and his close followers, his troubles and his moonshine attract Dodd, who wants to solve the former and imbibe the latter. Solving Freddie’s troubles involves using “The Cause”’s methodology of “processing” (obviously based on Scientology’s “auditing”) and once Freddie tries it, he’s hooked. The men develop a co-dependent relationship, the course of which forms the vast bulk of the movie.
The Master is an intriguing work of the imagination that suffers from divided loyalties. On the one hand, the way a cult grew in post-war America among affluent, educated people is fascinating; on the other, the relationship between Freddie and Dodd is examined in so much depth as to become repetitive and annoying. I found it the least accessible of Anderson’s films, and the least enjoyable, but it’s intelligent and original enough for him to remain a “must-see” director. Although I was at times bored and frustrated, I certainly don’t regret seeing it.