mihai malaimare jr

Philip Seymour Hoffman Week
The Master, 2012
Cinematography: Mihai Malaimare Jr.

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The Master

DOP - Mihai Malaimare Jr.
Format - Panavision 65 HR (65 mm 50D, 250D, 200T 500T)
Lenses - Hasselblad and Kowa Lenses 
Aspect Ratio - 1.85 : 1 
Delivery - 35mm, 70mm Blow Up

Notable Strengths - Colour, Symmetry, Thirds, Composition, Low Light, Leading Lines, Wide Angles, Use of Format, Close Ups

The Master
Paul Thomas Anderson, 2012, USA
The signs of postwar prosperity one assumes to find in Paul Thomas Anderson’s latest picture are hardly seen or felt, their idealized prevalence merely implied along the edges of bright deserts, churning seas, and private interiors. Devoid of baby-boom and Levittown comforts, Anderson’s rendition becomes a bizarrely prototypical reflection of an impressionable era’s aspiration for intellectual dominion over vice. This American-dream complacency hovers just outside the insular fold of a high-profile cult-like group, The Cause, whose dogma and psychology are what The Master aims to confront. The susceptible are drawn to their pursuit of human perfection lead by the piggish and charismatic Lancaster Dodd, who gladly subjects his followers to purging sessions of deep and hypnotic questioning. Wallowed on the formidable and compulsive Freddie Quell, a perpetually drunk and rejected veteran, this treatment offers him catharsis from the consequences of his troublesome past and a safe haven from dissolution. Freddie is a mesmerizing jigsaw of crass mammalian impulses, human mistakes, and alarming sincerity so genuine and rare it grows into Lancaster’s doctrinal obsession and the baneful threat to the hidden authority Lancaster’s deceptively subservient wife upholds. The unassimilable Freddie, doomed to remain an apparition, is chasing the comfort and belonging offered by Lancaster’s circle whose bored leader, seeking the thrill of conquer again, chases the valor and immunity to conform Freddie innately possesses. The Master plays like their shared and compellingly painful, disordering fever, and Anderson follows his instincts like never before to denounce the quest for removing oneself from oneself. His latest is as much about an elusive time and place as it is about a contradictory and recurrent pull between two men, craving and repelling what the other one has, who serve as one another’s provision and poison.  

5/5

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