Why You Must See Paul Thomas Anderson’s The Master

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Well, I don't mind admitting I think The Master is one of the most important films of our time, and has set the bar for cinematic realism that is not likely to be equalled in the next fifty years. I realize that many of you will disagree, so I do have to confess I am extremely partial, and, probably, giddily gobsmacked in general, by the synthesis of screenwriting, filmmaking, storytelling, religion, psychology, mythology, and the evolution of human consciousness. So, for me, a film, and filmmaker, that undertakes to bring all these into confluence, conflict and resolution/revelation through a superlative cast of actors working at the top of their form is an achievement of unparalleled genius. I am brought to my knees by this film, and marvel that Anderson was able to realize it so completely. I am disappointed that it seems to be going over the head of most of our peers, but maybe that's just how it has to be. I've often felt the only obligation a screenwriter/director has is to prove the "theme" of his film whether the audience gets it, likes it, or not. That The Master accomplishes this, is without question, perhaps in time it will be more widely seen and accepted accordingly.

Well, I don’t mind admitting I think The Master is one of the most important films of our time, and has set the bar for cinematic realism that is not likely to be equalled in the next fifty years. I realize that many of you will disagree, so I do have to confess I am extremely partial, and, probably, giddily gobsmacked in general, by the synthesis of screenwriting, filmmaking, storytelling, religion, psychology, mythology, and the evolution of human consciousness. So, for me, a film, and filmmaker, that undertakes to bring all these into confluence, conflict and resolution/revelation through a superlative cast of actors working at the top of their form is an achievement of unparalleled genius. I am brought to my knees by this film, and marvel that Anderson was able to realize it so completely. I am disappointed that it seems to be going over the head of most of our peers, but maybe that’s just how it has to be. I’ve often felt the only obligation a screenwriter/director has is to prove the “theme” of his film whether the audience gets it, likes it, or not. That The Master accomplishes this, is without question, perhaps in time it will be more widely seen and accepted accordingly.

Michael Walker

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