My latest post on the NetFlakes blog:
P.T. Anderson’s The Master is a movie about two parallel lives that, whether by fate or coincidence, intersect. The composition, mise-en-scène, and blocking in the movie has stuck with me since I watched it. I was most struck by the motif of parallel lines that emphasize the absurdity of Freddie’s path crossing the Master’s, and the strange consequences that come as a result. Below are some of my favourite images that either directly or indirectly evoke parallel lines.
This over-the-shoulder shot positions each man in parallel lines (and is even shot through the parallel bars of the adjoining cell) despite their heated exchange.
Freddie’s violent fit, throwing him at all sorts of angles, is made all the more jarring in juxtaposition to the Master’s relaxed stance in line with the vertical bars. But Freddie’s arms are tied behind him, making his body one line, while the Master can prop himself…
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