Character: 36 out of 60 (6.0/10)
Mise-en-scene/visual/setting: 26 out of 75 (3.5 out of 10)
Plot/screenwriting: 23 out of 65 (3.5 out of 10)
Those make for a rather strange combination of scores, actually. But I wonder if that might be more common in neo-noir. Certainly one pattern we see in a sub-group of classic melodramas is one where the characters meet the levels expected in noir, but the other elements in the film do not rise to the same level. The visual score tends to be higher because there is a "gain" for B&W which isn't the case for 99% of neo-noirs.
"Fatalism" in neo-noir is tougher to define because the visuals are so often kept more separated from the action than in classic noir. Perhaps if "fatalism" is expanded to include sensations of fracture, loss of order or focus, shifting ground, and a kind of randomness that somehow seeps over the characters as they move through the film's visual tableau (but this is getting pretty vague, one must admit...), then one could handle the murkier aspects of how the film creates a visual environment that heightens the sense of entrapment (lack of free will), alienation and danger.
From that admittedly murky set of criteria I think we MIGHT find that the film has more "fatalism" than the current grade--maybe a 7. I haven't seen the film since its original release, so I can't easily put my finger on anything more particular.
If we did that, though, the score would move more into a range that looks like the pattern seen in that sub-class of classic melo-noir, where there is a linear descent from character-visual-plot. For THE MASTER, that score would change to 6.0/4.1/3.5. Compare, for example, to a melo-noir like THE WOMAN ON THE BEACH (much more of a triangle film), which grades as 6.8/5.2/4.3.