Showing posts with label The Master. Show all posts
Showing posts with label The Master. Show all posts

Sunday, February 2, 2014

Philip Seymour Hoffman, dead at 46

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I don't go around announcing someone's passing like some gossip newspaper columnist. But this afternoon, when I heard Philip Seymour Hoffman found dead in his New York apartment, possibly by heroin overdose, I can't help but great sadness overtaking me. It's not that he was my favorite actors of all time or anything, but he was one of those actors who were always solid and watchable on screen. I remember him playing bit parts in Hollywood movies, then being typecast in indie films as 'that creepy fat guy'. He was not your typical handsome movie star. But his talent was too enormous, too great for people to ignore.

Most memorable character he played, for me, was in Charlie Kaufman's magnum opus, Synecdoche, New York, as a long suffering writer, beaten down by life, ambition and carrying the burden of having a creative mind. He used his physicality and awkwardness fully in the biopic Capote, garnering much deserved recognition and fame. He also shined as a larger than life but ultimately emperor with no clothes in PT Anderson's The Master, the slight play on L. Ron Hubbard and Scientology. I'll watch Mission Impossible III tonight, just because he was in it (I've heard he is good in it, as usual). RIP Philip Seymour Hoffman, I'll miss you.

Thursday, December 27, 2012

Dustin's Top 10 Films 2012

A serious year 2012 in cinema it was: the global economical downturn churned out some of the most exciting films, especially in Europe where filmmakers seem to be reflecting on the collective state of identity crisis. On the other side of the pond, other than Paul Thomas Anderson's Master, there was no real grand experiment to be found. Quieter still, and curiously so, was the Asian cinema which lacked both substance and form.

Earlier in the year, my personal exploration took me to documentaries of Les Blank, silent gems, Powell & Pressburger, Japanese New Wave, more Godard, Portuguese Cinema, Raul Ruiz, Christian Petzold and Berliner Schule, Jose Luis Guerin and made me revisit Tarkovsky, Chytilova and Chris Marker. And what started out as a simple question if there was an adequate name to describe the current crop of shape-shifting postmodern cinema pulled me into the very depth of the cinematic rabbit hole, left me exhausted and confused and exhilarated at the same time. As I was reminded watching Film Socialisme, Sans Soleil, Fontainhas Trilogy, Tren de Sombras, Tabu, A Man Vanishes and Two Years at Sea that I am just scratching the surface of this great artistic medium. At the same time, I feel glad and relieved that there are so much more to explore.

Please Click on the titles for full reviews

1. Holy Motors - Carax
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My interview with Leos Carax

2. Once Upon a Time in Anatolia - Ceylan
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3. Amour - Haneke
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My interview with Michael Haneke

4. Goodbye First Love - Hansen-Løve
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My interview with Mia Hansen-Løve

5. Cosmopolis - Cronenberg
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6. Two Years at Sea - Rivers
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7. Barbara - Petzold
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My interview with Christian Petzold

8. Tabu - Gomes
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My interview with Miguel Gomes

9. The Master - Anderson
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10. Faust - Sokurov
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And others:

The Kid with a Bike - Dardenne
Wuthering Heights - Arnold
Skyfall - Mendes
Leviathan - Castraing Taylor, Paravel
This is Not a Film - Panahi
Oslo, August 31st - Trier
Dredd - Travis
I Wish - Koreeda
Almayer's Folly - Akerman
Found Memories - Murat

Monday, November 19, 2012

Informal Processing

The Master (2012) - Anderson
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A sprawling, ambitious work. I enjoyed it just as I enjoyed There Will be Blood and both of them happen to rely heavily upon the tremendous lead performances. Id vs super ego, embodied by Joachim Phoenix and Philip Seymour Hoffman, is still very much a PT Anderson acting workshop but more subdued (still hurt my ears with all that shouting though). They still talk plainly what's exactly on their minds like lovelorn teenagers. There is no character arc, no change of minds in Anderson's protagonists. At first, they want to be sympathized with (Hard Eight, Boogie Nights, Magnolia). But after There Will be Blood, the writer/director seems less concerned with them being understood. They have always been arrogant, self-assured pricks. It's all about them pitted against one another for a dogmatic battle. There Will be Blood could have easily been called The Master.

Still, Phoenix is really amazing, slumped like an injured ape, slurring his words from one side of his mouth, so as Hoffman, red faced most of the time. Amy Adams and others are negligible, barely registering on the radar. PT Anderson movies usually annoy me. The Master didn't. I see it as a departure of sort for him. It's not a character study, doesn't have the strong narrative nor flash camera movement or innovative photography, even though it was shot on crisp 70mm (I do like close ups and constant shot from a low angle). Don't read this as a backhanded compliment. I really do like the Master. There are some great individual scenes in that film. I let out a short laugh and almost cheered Freddie on when he drove off with his bike near the end. I even liked the clunky ending. It might be my new favorite Anderson so far.