Tag Archive: Terrence Malick


AWED BY THE TREE OF LIFE

I finally got to see Terrence Malick’s Tree Of Life and it was well worth waiting for. I only wish I could have seen it on a big Imax screen rather than on my humble laptop. It was still awesome in the true sense of the word.

It’s so complex and multi-faceted that any summary of the plot or speculation about meaning will fail to do it justice. It is a movie to be experienced rather than deconstructed. Still, I can’t resist putting down some of my impressions.

The voiceover by Mrs O’Brien (Jessica Chastain) at the start affirms that people must choose the way of nature or a way of grace.

Her stern husband, played brilliantly by Brad Pitt, seems to represent to harshest aspects of the path of nature. He’s a man who wants to be in control of his own destiny and rules over his three sons with a hard patriarchal force. His belief that you have to be cruel to be kind and often veers off course so that at times he is also cruel to be cruel. Inevitably, his oldest child Jack (Hunter McCracken/Sean Penn) rebels against this authority.

The mother is the nurturing figure (grace). In one scene, while playing with the boys outdoors she looks to the sky and says “that’s where God lives”. This simple trust that the family are being watched over by a benevolent being and governed by an unseen hand is one that is implicitly or explicitly questioned in the movie. Continue reading

MALICK’S NEW WORLD

 I haven’t yet got to see the Tree Of Life but of all the Terrence Malick movies I have seen The New World is his weakest. It looks splendid and the editing of images with the soundtrack is a work of genius but the story plods along with a very wooden script.

Malick’s Days Of Heaven restored my faith in the voiceover but in The New World you have not just one, but three which seems to be over-egging it. These largely replace the need for dialogue and gives the movie a cold, detached quality.

Colin Farrell as Captain John Smith has the pissed off demeanour of a man who has stumbled into the wrong movie. He looks pumped up for some meaty action scenes but after some brief skirmishes with the savages (or ‘naturals’) these never materialise. There’s one unintentionally hilarious shot of him where one of the tribal leaders is talking to him in his native tongue. It’s not clear whether Farrell’s faraway look is meant to denote that he understands what the man is saying or whether he is thinking “what the fuck is this dude saying”?

On the subject of language, the speed with which Pocahontas (Q’orianka Kilcher) learns English is astounding. One minute she’s asking for some basic vocabulary – sun/sky/eyes/lips, the next she’s chatting away fluently. I wish some of my students were as gifted as her.

Christian Bale as John Rolfe swans around trying to look deep and sensitive but he’s never been an actor who convinces me.

I recognise that Malick’s poetic cinema is on a higher plain than most directors, and arguments rage about which version of this movie is the definitive one but my first impressions (I watched the extended cut) were not positive.

Maybe my expectations were too great. M aybe I need to see it again. After all, there are many who regard it as a misunderstood masterpiece.

DAYS OF HEAVEN

I haven’t yet seen Terrence Malick’s Tree Of Life; I didn’t particularly want to see it in the dubbed Italian version so I’m still waiting for the official DVD release.

This delay is quite fortunate as it gives me time to plug gaps in my movie knowledge as I realised  that to my shame I hadn’t seen his earlier films The New World or Days of Heaven.

When I read critic David Thompson’s assertion that the latter is one of  the most beautiful films ever made  I decided that i needed to see at least this one.

When you consider how often Richard Gere in Pretty Woman gets repeated on TV, it is a sign of the dumbing down of culture that Days of Heaven doesn’t have a higher profile.

Gere is actually not that convincing in the part of a manual labourer with dreams of grandeur, he’s just too clean-cut. Sam Shepherd as the lonely farmer plays his part in a restrained manner.

What makes it such a marvellous movie is not the individual performances but the way Malick evokes the setting (the Texas panhandle in 1916 to be specific).

The landscape  is beautifully photographed by Nestor Almendros and  Haskell Wexler and this, plus the inspired editing makes the movie a sublime work of art. Continue reading