Paul Thomas Anderson’s new motion picture The Master is splendid, secretive and terribly miserable, in roughly that story request. It is only that brightness and formal refinement, together with a touch of hubris in the title, that could isolate analysts.
Anderson has inside living memory thumped us for the greatest circle with his There Will Be Blood in 2007, and nothing makes faultfinders more apprehensive than an executive who makes two uncommon movies in succession. Commentators get somewhat hesitant about relegating the top prize once more, frightened of looking like fanboys and weaklings. They feel the need to change the mind-set, to accept the uniqueness of their previous recognition.