Schrader's masterful new film depicts a garden of good and evil. movies MovieReview MasterGardener paulschrader film Cinema
— Narvel Roth qualifies as one of “God’s lonely men,” largely isolated from “normal” society and desperately questing after purpose and redemption.
The chief horticulturist at Gracewood Gardens, a sprawling estate presided over by the imperious Norma Haverhill , Narvel presents a placid surface — he’s unfailingly calm, measured, precise — but he’s roiling underneath. A former enforcer for a cadre of neo-Nazis — his torso still bristling with tattoos of swastikas and white-power sigils — Narvel turned state’s evidence and found refuge at Gracewood as part of the federal Witness Protection Program.
Having progressed from untutored apprentice to master gardener, Narvel appears to have found a measure of contentment in his circumscribed existence, but the arrival of Maya , Mrs. Haverhill’s great-niece, upsets the delicate balance at Gracewood. Norma describes the biracial Maya as adrift and troubled .
What Norma fails to anticipate, however, is a slowly blossoming attraction between Maya and Narvel, who serves not only as his employer’s gardener but also her on-demand lover. When Narvel tenderly comforts Maya after she’s beaten by her mother’s drug-dealing boyfriend, a jealous Norma impulsively expels the odd couple from Eden.
At this point, the simmering tensions present from the film’s start rise slowly to a boil, and Master Gardener begins to deliberately echo elements of: Just as Travis eventually “rescues” Iris from her pimp in an apocalyptic gun battle, Narvel seems inevitably headed to a similar conflagration as he attempts to free Maya from the depredations of the dealer R.G. .
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