Baraka seemed like a huge influence on the grandeur and mood of the piece. The first scene of The Master is a complete homage to it. Like Baraka, the music is loud and disruptive and then cuts out and disappears until you completely miss it.
Freddie and Dodd were similar to Lenny and George Of Mice and Men. Dodd is Freddie's protector of himself in a way. Also, the Scientology factor cannot be expressed enough, specifically the David Miscavige bulldog quality of Freddie, with Dodd being his master just like L Ron.
There is defintitely love; Dodd expresses it thoroughly when Freddie is getting arrested by saying 'don't hurt him' ect ect. Its revealing and I think the first time we know for certain that there is love. Someone else said it...you really love Dodd for the scoundrel he is.
When they wrestle welcome after jail, it felt like Tommy Boy with Chris Farley and David Spade. The camaraderie and guy jokes...its all there. And the sense of love both fraternal and paternal between the two men are the most enduring parts of the movie.
The introduction of Quell into the family is quick and very forced upon, and it creates for some very fish out of water moments that walk the same line but talk a different game than PTA's older films. The whole time I felt that Freddie was a lot like Eddie Adams in that here's a kid with a gift (makes great liquor) and needs a place to live.
The shot when Dodd is racing the motorcycle and the family all walk out of the car is a great image of maybe 'dad on vacation' where all the kids watch their dad make a fool of himself. Its so well framed and balanced, speaking on the equality they find for Freddie in the family.
Freddie is either a bull in a china shop or a queer on the wall in most scenes. Its new territory by nature because of the time period and backdrop...homework was done and PTA scored an A.
