23 February 2013 12:30 AM, PST | DearCinema.com | See recent DearCinema.com news »

Mk Raghavendra, in his column Minority View, writes about Paul Thomas Anderson’s “The Master”

Paul Thomas Anderson is not an easy American filmmaker to characterize but his work is perhaps best understood as an American response to European art cinema of the post-war years. Classical Hollywood cinema or studio filmmaking from the 1920s onwards has insisted on a plot which is driven by individual motivation and, as David Bordwell notes, European art cinema from Neo-realism onwards positioned its narratives in opposition to Hollywood. It relied on looser causal linkages and with less dependence on the motivated individual.

European films ranging from Bergman’s Wild Strawberries (1957) and Fellini’s La Strada (1954) to Jean-Luc Godard’s Breathless (1960) and Michelangelo Antonioni’s The Passenger (1975) are about people who, rather than being goal-oriented, are either unable to act decisively or are reflecting on the results of the past actions. The two major principles »

- MK Raghavendra

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