Master Gardener

Spoilers

I was surprised at how shallow and thin Paul Schrader's writing is in 2022's MASTER GARDENER. Relatively.  By now I've come to expect near scholarly examinations of redemption (his favorite theme) in his movies.  Often, the protagonist's definition of such may differ than everyone else's.  Consider Travis Bickle in TAXI DRIVER.  Or John LeTour in LIGHT SLEEPER.  More recently, Schrader has created what folks have been calling "The Man in the Room Trilogy" - further stories of troubled, isolated men scribbling journal entries under lamplight, voiceovers allowing us a glimpse into their psyches.  Men with questionable histories who find an opportunity for some sort of absolution.   A late career resurgence for the writer/director that began with FIRST REFORMED and continued with THE CARD COUNTER.

Narvel Roth (Joel Edgerton) is the titular horticulturist whose team precisely manicures the estate of Mrs. Norma Haverhill (Sigourney Weaver), a wealthy, refined, but acerbic widow.  One day she tells Narvel - who she often calls "Sweet Pea" for reasons that will be confirmed later - to guide her orphaned grandniece Maya (Quintessa Swindell) as an apprentice.  Estranged grandniece, one she hasn't seen in over a decade.  The reasons are easy to surmise as we get a brief but comprehensive enough sketch of Norma.  Beginning with Maya's mixed race.   

The early twentyish woman is a quick study, and she bonds easily with Narvel and his staff.  The opening scenes of MASTER GADENER are pleasant and almost soothing, with lovely cinematography by Alexander Dynan and lush production design.  Yet every moment is infused with portent, punctuated by flashes of Narvel's past, his years as a white supremacist.  When Norma and Maya finally sit down for a chat,  the film reveals its thorns, so to speak.  You may call that an easy metaphor, and Schrader never misses an opportunity to present his own, often through Narvel's journal entries.

The storyline follows a familiar arc, though the darkness may not hang as heavily this time out.  Perhaps Schrader wanted to end this trilogy on an up note.  This does come at the cost of plausibility. And before, the dramatic peaking in the second hour wasn't entirely convincing or strong.  Severances and resolutions were too abrupt.  The worst sin is the lack of proper development of Narvel.  I do agree that this is not a story about his terrible past, but in order for the penance he seeks to have weight we needed a better backstory.  Schrader only gives us morsels.  I'm not asking for spelled out "meaning" but more narrative would've allowed the present more impact.

Having two of the wimpiest antagonists in recent memory also didn't help.

The cast is very good.  Edgerton plays enigma well.  Weaver relishes a showy role.  Swindell is believably tough and vulnerable.