Like Amanda Seyfried’s character Mary Mensana in First Reformed, Maya is the character that will lead Narvel either to redemption or to further decline, depending on the choices he makes. Haverhill asks him to take her young mixed-race niece, Maya ( Quintessa Swindell, who delivers a great performance with a tricky and demanding character), as an apprentice.
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However, things begin to crack once his employer (and occasional lover) Mrs. While hiding a dark past, as usual in Schrader’s stories, Narvel Roth has a routine in the gardening estate that maintains his calm and keeps him out of the world of brutality that haunts him daily. He is filled with the usual white power tattoos (Nazi iconography and skulls around his body) and styles his Proud Boys haircut. Who’s the man at the center of this story? Narvel Roth ( Joel Edgerton, who is more potent, performance-wise, than Oscar Isaac in The Card Counter) is a reformed white supremacist laying low in a witness-production program identity, leaving that life behind to focus on his passion for plants and maintaining them. There’s a metaphor with every occupation, and in the case of Master Gardener, it is the topic of planting seeds of hostility and loathing, later cultivated with care into a nurtured being, empty of that hatred that condemned him in the past. So, what’s the occupation this time around? A gardener and horticulturist at a grand estate called Gracewood Gardens run by the wealthy Mrs. The film may begin with some beautiful sequences of flowers blooming, but those who have seen Scharader’s film know that this is going to hit a quick switch and change its stylistic presence to the usual Schrader gritty filmmaking. Schrader now arrives with the third iteration of this “template”, creating a trilogy of some sort (and a fourth one is coming soon) with Master Gardener.
It may sound similar to his previous work, but what separates these films from the rest of his filmography is that these men write about the struggles and troubles of their respective professions. These stories are about lonely men in their forties with dark pasts and seeking redemption by hiding their past identities in masks that disguise is their distinctive occupation.
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In recent years, Paul Schrader has been working with a template of some kind, creating his “man in a room” series of films, starting with 2018’s First Reformed, followed by The Card Counter (2021). They are trying to transform their trauma into a vocational obsession, where a side character arrives to help them through their journey toward “salvation” or further “deterioration”. Schrader’s characters are haunted by existential revelations that primarily deal with a violent past. There’s something that connects these projects, whether his writing or directing: they all center around lonely men (taxi drivers, drug dealers, card players, gigolos, boxers) during their middle age and the troubles that arise once they commit their false steps.
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Some of them even are called grand pieces of works, like the scripts he has written for Martin Scorsese ( Taxi Driver and Raging Bull) and his directorial efforts ( Mishima: A Life in Four Chapters, Blue Collar, and American Gigolo). Since the 1970s, Schrader has been involved in plenty of projects as a screenwriter and directing director.
Paul Schrader’s third installment in the “man in a room” trilogy, Master Gardener, is ultimately unfulfilling, even with an excellent Joel Edgerton attached.Įven if some of his projects aren’t acclaimed, it is fair to say that Paul Schrader has had a fascinating career.
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