I'm not sure if it's the best looking film ever (or, you know, even better looking than TWBB), but PTA does amazing things with the camera. As for the score comparison, I think they are on equal footing, but only because I was so taken with the juxtaposition of a much more modern musical aesthetic and the period piece setting. I listened to this score last night though, which I never did for TWBB, so there is that. Regardless, both are fantastic. Hope Greenwood gets recognition. In a way I think this will be a situation where PTA and company, like people said about the Coens and Scorsese even though I didn't agree, clean up at the Oscars as a means of apologizing for not properly rewarding his previous great work even though this is still a great work in itself. Who knows though, maybe Tom Hooper will win everything, I guess that doesn't matter.
As for Adams and her eyes, I liked it. Felt a bit like
Black Swan, and by extension a very little bit like
Perfect Blue, to me. Kind of works to either show that Freddie is able to delude himself/control his mind or there is some truth to the system. I'd need to see it again and think specifically about the implications in a larger context, but it mostly seems to add to the ambiguity and open up the readings of the film and characters. Iser would approve, probably. I think it comes right around that scene where we're seeing all the naked women and clothed men from Freddie's perspective.
It strikes me as odd that this thread isn't more active this weekend.
I'll return here and give my two cents at some point in the winter or spring 2013 when The Master - possibly - will open in Swedish. ATM we're not sure it will get any distribution at all.
That's too bad. The way international releases are handled is upsetting. Though I usually get to see the films I'm interested in around their release, I know how it is to want to see something and have to wait because it's just opening in Japanese theaters or something and it won't make US shores (or even the internet sometimes) for quite a while.
4.3.2.1, which was even a film in English, just got a DVD released this year (and with 'Noke gone it's lost the only other voice of support I can recall around these parts) without any theatrical run. I imagine, come the year's end, it will be completely forgotten and any sort of discussion is lost anyhow because of release strategy.