Terrence Malick is at it again, perhaps making his most "Malicky" film yet. All of his usual trademarks and themes are in place, and I've come to realize that, expcept for specific plot info, all of his movies are pretty much the same. That's not necessarily a bad thing, but perhaps it's time for him to do something
really radical, like, ya know, less Malicky.Anyways, moving on. This film is set in 1916 and follows a manual laborer named Bill (Richard Gere) who, after hitting and killing his boss at a Chicago steel mill, goes on the run with his kid sister Linda (Linda Manz) and his girlfriend Abby (Brooke Adams). To dispel any sort of gossip, Bill and Abby decide to masquerade as boroher and sister. The trio end up in the Texas panhandle where, along with a bunch of other hobos and itinerant workers, they get jobs working for a shy weathy unnamed farmer (Sam Shepard) who is dying of some unnamed disease.Bill hatches a scheme to cash in on the farmer's fortune to help get the trio permenantly out of poverty, but things get compicated as a love triangle develops and it becoems harder and harder to conceal Bill and Abby's true relationship.Storywise, that's pretty much it. It's in the execution of things though where this film really shines. The film is absolutely gorgeous to look at, and ay just be one of the most beautiful and greatest shot films of all time. It was shot during specific hours of the day, and the results are phenomenal. The visuals are very stunning and look like something straight out of a classic American rural landscape painting or something. The film is also a fairly easy one to sit through. It's not that long ,and, even though the film unfolds slightly gradually, it never drags and none of the shots really linger all that long. The music is also quite nice as well. Morricone's score is wonderful, and does an excelelnt job of doing variations on Saint-Saens's "The Aquarium". This is a really nice and absorbing romantic drama. Yeah it has shades of conventional plot poitns and ideas, but I think what really sells it on a story point is how all of the narration is done by Linda, presenting a very mature and adult story through the perspective of a detatched and weary girl. Good stuff. The performances are nicely understated as well, and it seems weird to think that a (now) big name like Gere's could fit into something like this and not really stick out. Besides the visuals, the real highlught for me probably has to be the locust swarm sequence: that's just awesome and I love how it all comes together and can be both taken at face value and seen as symbolic. All in all, this is lyrical, poetic, and brilliant stuff. Plenty of films came out in the 70s that were visually arresting and moving, but this one basically takes the cake. Hats way off.
February 4, 2011
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