about a scene from "Boogie Nights"

He finds himself sitting in a strange room surrounded by firecracker explosions, unsustainable highs, men with guns hidden behind waistbands and shirts. Sitting in that room, waiting for what seems like an imminent, inevitable, violent end, he disappears into the last 5 years—through a keyhole he sees it—the first half, the good half coaxes a smile that dissolves into the second half and lost eyes find a narrowing range of options and an expanding sense of desperation. Time to go.

something else about the movie “The Master”

In the last scene with both Lancaster Dodd (Philip Seymour Hoffman) and Freddie Quell (Joaquin Phoenix), Dodd tells Freddie to leave him forever, saying, "Go to that landless latitude, and good luck—for 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."

Lancaster and Freddie are drawn to each other. Lancaster suggests a few times that he and Freddie are cosmically connected, that they knew each other in a previous life. Both Freddie Quell and Lancaster Dodd improvise in life.

But Lancaster feels the pressure of his followers' expectations, their fragile devotion, and his determined spouse, Peggy (Amy Adams).

Freddie represents something like freedom. He is wild. He gets out of control and does not try to control others. He seems to have no views. And he claims to do what he wants.

His relationship with Dodd is Freddie's only meaningful one since before the war when he courted a young girl. The relationship with Dodd gave Freddie a taste of intimacy.

But Dodd cannot pursue life with Freddie. Freddie is too damaged, too unstable, too uncontrollable, and Lancaster has too many commitments. Moreover, Peggy will not allow it. So Lancaster will carry on without him, and Freddie will drift away alone.

Notes:

• Peggy is an ominous, constant source of pressure. She immediately puts a stop to nudity at meetings of The Cause, and she pushes him away from Freddie.
• Freddie experiences intimacy when Doris (Madisen Beaty) sings to him. And he experiences intimacy again during the Lancaster-Freddie processing scene, among others. And early in the movie, we see Freddie pretending to have sex on the beach with a woman shaped from sand; the movie ends with a shot of Freddie lying still, almost sweetly, next to the sand woman on the beach.
• Now I am patting myself on the back for my 2013 post, "about the film "The Master," noting something that is beautifully expanded on in this piece in The New Yorker: “The Astonishing Power of ‘The Master’” by Richard Brody, September10, 2012.
  

 

something about "There Will be Blood"

"There Will Blood" tells the story of an oilman building his empire during Southern California's oil boom in the early 20th century. This masterful epic (distantly inspired by Upton Sinclair's novel, Oil!) was directed by Paul Thomas Anderson and stars Daniel Day-Lewis as the oilman, Daniel Plainview. The film also features Paul Dano playing Eli Sunday, a charismatic young preacher and Plainview's foil. I watched the film again a while back, and considered it as an exploration of the relationship between rhetoric and truth.

Not a word is spoken during the first 15 minutes of the film. During that time, a baby whinnies, Daniel Plainview signs his name to a contract, and later he holds his black-coated finger up to silently signal that he struck oil.

The first spoken dialog in the film comes when Daniel, now with a foothold in the oil business, offers his drilling services to a new oil-struck community. Seated before them, Daniel establishes his ethos: "If I say I am an oilman, you will agree." Throughout the film, characters call attention to their speech acts. Here, Daniel goes on to say he is an experienced oilman with a simple offer: if the town agrees to work with him, he will consume fewer profits than a contractor and be more reliable than a speculator. He points to his young son, H.W., as proof that he runs a family business: honest and trustworthy. But when the town bickers and appears unable to immediately accept Daniel at his word, he leaves and doesn't look back.

Sales pitches--negotiation and manipulation, a play between rhetoric and truth--are heard throughout the film.

The next pitch is Daniel (again with his son at his side) at a kitchen table, an older couple facing him. This time Daniel closes with, "I need you to know what you want to do." This new closing technique is a reaction to the dissolution of his last prospect. The couple acquiesces in silence.

The film establishes that Daniel's voice, with its apparent directness, and the proximity of his young son are a big part of how Daniel communicates. With these tools he signals authority and legitimacy. However, we soon discover that Daniel's plain speaking is not so plain.

In the next pitch scene, roles are reversed, and Daniel finds himself in the role of customer. Paul Sunday (Eli Sunday's twin brother) comes to Daniel looking to sell information: the Sunday family farm is oil-rich: "If I told you I know a place that has oil, what do you think it would be worth?" When Daniel asks questions, poking around at the edges of Paul's secret, Paul flattens: "I'd like it better if you did not think I was stupid." When the cash-for-details trade is done, Paul closes: "The oil is there. I'm telling you."

Again, a character calls attention to his speech act.

With his interest piqued by Paul's revelation, Daniel and his son H.W. visit the Sunday family property posing as quail hunters. H.W. has learned to be the silent partner, and we get the impression that he has some awareness, if only vaguely, that he is a prop in these negotiations and his presence speaks volumes. When Daniel finally gets to negotiate--under the false pretense of buying the land for quail hunting and recreation--Daniel starts in, saying, "I believe in plain speaking." But this is a lie; his plain speaking is anything but. Eli steers the negotiation toward oil, and they all agree to deal.

Again and again, facts are minimized or misrepresented in speech. And with the introduction of Eli, we walk into a rhetorical web-tangling business masking brutality.

Later, when H.W. is alone with Mary, a young Sunday family member, she asks about the money that could be made from the oil pumped out of her family's land. H.W. withholds. After buying up all the nearby land, Daniel makes his pitch to the surrounding community. He appeals to them on the grounds that he comes to them without ceremony or intermediaries; he is there to talk to them "face to face" so that his motives and character are "no great mystery." Again he says, "I like to think of myself as an oilman," and then, "I hope you will forgive old-fashioned plain speaking." Then he describes how he believes family is important, and he enumerates all the benefits he will bring them, including schools, wells, crops, and roads.

As Daniel makes his final preparations to drill, Eli approaches and says he wants to bless the well when the community gathers there at the beginning of operations. Eli's instruction to Daniel is that "When you see me, you will say my name." Then, according to his pitch, Eli will step forward and give a simple blessing that he describes as "just a few words." But when the occasion arrives and the community gathers, Daniel is the demure master of the ceremony: "I'm not good at making speeches." Then Daniel plagiarizes Eli's "simple blessing."

Daniel humiliates others. The rhetorical situation is an opportunity to wield power.

Midway through the film, Daniel's son H.W. loses his hearing (the music in the soundtrack during this scene is all heavy percussion). But during the disaster that robs H.W. of his hearing, Daniel is intoxicated by the thought of all the oil he has found. But he can no longer be heard or understood by his son, H.W.

When Daniel's half-brother Henry arrives unannounced, Henry does not immediately make his intentions clear, and Daniel firmly demands, "I'd like to hear you say you'd like to be here" and Henry obliges. Eventually, Daniel, drunk, tells Henry that he hates people, and that he does not want anyone else to succeed. Daniel claims that he gets all of the information he needs about a person on first sight; yet, Daniel is deceived when he takes Henry's word that they are related.
 
In exchange for getting the final piece of land he needs to build his oil-carrying pipeline to the sea, Daniel agrees to be baptized in Eli's church. The speech act here is confession. Eli asks Daniel to confess (Eli must make multiple verbal demands: "I'll ask it again!"). Daniel answers, "What do you want me to say?" "Say 'I am a sinner!'" Daniel acquiesces. Eli hammers, "Say it louder!" Amid the church-house fervor, under his breath, Daniel whispers "There's a pipeline!"

As the film draws to a close, H.W. marries Mary Sunday. When he comes to his reclusive father, H.W. tells Daniel of his intention to drill for oil in Mexico. Daniel, enraged, mocks him: "You can't speak, so flap your hands! ... you're killing my image of you as my son." Daniel claims H.W. was adopted and used so Daniel would look more sympathetic and honest during negotiations. H.W.'s inability to speak is Daniel's weapon; Daniel's conception of others can only survive if nurtured by speech.

Eli arrives at the recluse Daniel's mansion during the film's final scene. Eli needs money. Daniel asks Eli to confess aloud that he is a false prophet and say that there is no God. "Say it like you mean it!" Daniel demands. Eli waits for the Lord's Word. In a most undivine ending, Daniel kills Eli by pummeling him to death with a bowling pin. Exhausted from having delivered the beating, Daniel announces, "I'm finished."

Notes:
Additional material:
When Eli asks Daniel about money owed to the church, Daniel physically abuses Eli and shoves his face in the mud. Humiliated, Eli later berates his father, Abel. Abel pleads, "I followed his word" (Daniel's word). Eli says Paul told Daniel about their oil-rich land. These speech acts have built an empire. In speech we see tension between business, brutality, honesty, and religion; we see and hear how voice relates to authority.

Later, Daniel meets with oil executives and they ask about H.W.; Daniel explodes, "Did you just tell me how to run my family?...You don't tell me about my son." The executive responds, "I'm not telling you anything. I'm asking you to be reasonable!" The threat of speech draws violent reaction from Daniel. Daniel takes Henry along on negotiations and business trips. But Daniel discovers that Henry lied. Daniel kills Henry because Henry misrepresented who he was.
 
Once H.W. is returned to Daniel's custody, the father and son go to lunch and encounter the oil executives. Daniel hides his face under a napkin and barks out so that the executives can hear, "I told you not to tell me how to raise my family ... I told you what I was gonna do." The executives' (implied) speech act is what injured Daniel, and Daniel's spoken vow affected reality.

about the film "The Master"

Who is the master? And who can live without serving a master?

In the 2012 film The Master, Freddie Quell—a character brought into curdled life by the singular Joaquin Phoenix—drifts and crashes from one moment to the next, his troubled life being one corrosive improvisation. Quell is a haunted World War II vet with no aim beyond staying intoxicated and self-destructing.

Philip Seymour Hoffman plays Lancaster Dodd, the leader of a philosophical movement known as "The Cause." His critics charge that Dodd improvises his philosophy from moment to moment, that he is a fraud. But his followers see an enlightened, intense visionary.

Quell is tortured, intense, rough, gaunt, uneducated, drawn to poisons and pain; Dodd is composed, graceful, educated, well-dressed, plump, and drawn to the spotlight. When the film debuted, critics wondered, What, if anything, does the film say? say about our talk of freedom and our readiness to serve a master? about the inevitable disappointment that comes with looking up to someone? about faith? belief?

Maybe Dodd serves more than one master: he serves his audience's expectations, his wife, his vanity and ego. He is intrigued by Phoenix, drawn by his intensity and desperation. Each man is fed and inspired by the interest and attention of the other; each man is the other's project, and each can take the other to the next improvised step, wherever it may lead.

The Master is fantastic, unorthodox, beautiful, grimy, and searing.


Note:
The Master was written, directed, and co-produced by Paul Thomas Anderson and stars Joaquin Phoenix, Philip Seymour Hoffman, and Amy Adams.