There have been several interpretations of what The Master is really about.[81][82] Some have viewed it as an existential tale of post-war America, while others have viewed it as a depiction of the birth of Scientology. Some have argued that the film is also mainly a love story between Lancaster Dodd and Freddie Quell; Dana Stevens of Slate commented that "After three viewings, I'm still not sure I know the answer to the "what's it all about" question, but I lean [toward the interpretation that] The Master is above all a love story between Joaquin Phoenix's damaged World War II vet, Freddie Quell, and Philip Seymour Hoffmann's charismatic charlatan, Lancaster Dodd. And that relationship is powerful and funny and twisted and strange enough that maybe that's all the movie needs to be about."[83]
Others have argued that the film is partly about acting; Richard Brody of the New Yorker observed that, "Similarly, it's perhaps notable that Phoenix's performance seems to represent the tormented, physical acting styles of the latter half of the twentieth century (the Brandos, the Deans, the Clifts), whereas Hoffman's acting seems to hearken back to the controlled, elusive manner of the previous half (many have described his turn as "Wellesian"). In these acting styles, we see a miniature version of the journey of American society during this period—and, specifically, American maleness."[84] Still other arguments regarding the film's main theme hold that it is about humanity, and man's struggle to cope with his animalistic nature. Glenn Kenny of MSN Movies wrote that the film is "Less about [Scientology's] specific set of beliefs than about how humans rely on belief systems in general to try and lift themselves out of an elemental rage, and to assert, yes, that man is not an animal."[85]
Numerous reviewers commented on the homoerotic subtext of the film. Film Comment noted the bonding and repelling between the two men, "two edges of the split saber, play out in public and in private, in "audits" and intimate exchanges over Freddie's alcoholic concoctions".[68] The Guardian saw "Quell's chaos and Dodd's charlatanism" locked "in a dance of death – erotic and homoerotic".[86] Reviewers from The Daily Beast were struck by the way the film "deals with the not-so-latent homosexuality in Dodd", adding that, "Dodd seems to be sexually attracted to Quell's animalistic nature, e. g., that scene where they're wrestling with each other on the front lawn after Quell is released from prison, or the scene where Dodd's wife, played by Amy Adams, gives him a handjob, along with a spiel about 'cumming for her' and eradicating himself of negative (read: homosexual) thoughts."[87] Salon commented that the film contains a "not-too-veiled suggestion that Dodd's paternal yearnings for Freddie are complicated by other desires".[88]
Comparisons with Scientology
Upon the release of the script, comparisons between the Cause and Scientology were quickly made.[89][90][91] The press noted Hoffman's physical resemblance to Scientology founder L. Ron Hubbard (1911–1986), who served in the U.S. Navy in World War II, and, after his release from the hospital, founded the belief system in 1950, the same year as the religion in the script. The film ends in England, at roughly the same time Saint Hill Manor became Hubbard's residence and the first Scientology "org".[22][89][92] Also, the film's references to the need of an "able-bodied seaman" and the reference to Fred being aberrant are both terms used by Scientologists in the administrative dictionary.[93]
The production company officially denied that the film was loosely based on Hubbard, with producer JoAnne Sellar also denying any connection to Hubbard, stating: "It's a World War II drama. It's about a drifter after World War II."[22] Harvey Weinstein also denied that the film was about Scientology: "Paul says to me the movie is about a journey for soldiers after World War II ... one of the things that happens to this soldier is he goes to a cult."[94] Anderson has stated that he has "always thought Hubbard was a great character, so interesting and larger than life, and kind of impossible to ignore",[12] and he acknowledges that Lancaster Dodd was inspired by Hubbard, and that he should have known that is what people would latch onto, stating: "I didn't want it to be a biography. It's not the L. Ron Hubbard story."[10]
Several websites suggested that "important Hollywood Scientologists" objected to the project because they feared it might reveal too much about the faith, and others even speculated that the Church of Scientology had enough power to stop Universal from green-lighting the film.[22][92] However, none of the production crew had been contacted by representatives of Scientology.[9] When Karin Pouw, a spokeswoman for the Church of Scientology, was asked if the church had any concerns about the film, she stated, "We have not seen the film, so can't say one way or another" and that the church knew about the film only from what it read in the press.[9] According to Anderson, at no point did the church make any direct or indirect inquiries about the project or otherwise try to inhibit its progress,[12] and that while they were making the film, Scientology was the least of their problems.[93]
In May 2012, Anderson screened the film for his friend, actor Tom Cruise, an outspoken Scientologist, who had some issues with parts of the film.[95] Cruise had previously starred in Anderson's third film Magnolia.[96] Officials of the Church of Scientology, who reportedly heard from Cruise, "hit the roof" when they learned of a scene which suggested that the belief system was a product of the leader's imagination.[97] The scene with which Cruise had issues involves Dodd's son telling Quell that Dodd is just making it up as he goes along.[97] They took issue not only with this statement, but with the way it supposedly paralleled L. Ron Hubbard, Jr.'s conflict with his own father. While church members objected to other scenes, Anderson did not excise any of them from the film.[97] He stated that Cruise "did see the film. It's something between us. Everything is fine, though."
