Set at the turn-of-the-century, is the tale of a young steelworker who accidentally kills his boss and flees the city. With his girlfriend and his little sister in tow, they travel to the Texas Panhandle.
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Pastoral poetry filled with stunning shots from the prairie fauna and flora and a forbidden romance to get along to. It would be much more interesting if Bill and Abby were indeed blood brothers - a good incest always spices up.
From the pioneering Pan-A-Glide to the 'magic hour' of filming, the reverse-time peanuts from a helicopter to simulate locusts to the shallow focus wheatfield fire... Creative resource; the ingenuity of lo-fi authenticity. Malick's cinematic ambitions to contemplate the mythical and infinite are in full flow, as are his attempts to master Griffithesque lighting techniques. A reclusive auteur deserving of acclaim.
An impressionism which marries language/consciousness w/ the infinite natural world in all its finite bits. Malick's cinema becomes totally dense here. Dense in a good way. It is against dualism. The film, like all worlds, or the world of all worlds, is a pulsing, organic, crowded unity. Uncle Nestor's photography is peerless, but never needlessly pretty. He didn't need 'Scope, so neither does yr stupid li'l movie.
"Beathtaking, sunset kissed cinematography but I couldn't connect with the characters." Might as well add that as my review for all Malick films. Reminded me of 'Barry Lyndon', funnily enough: both stories of deeply flawed sociopaths bathed in natural light (but at least Kubrick's had a barrelful of wit.)
People love to go on about the cinematography in this film, but if you are using the sun/sky as your light source you really have to be trying to fuck it up. This is first Malick film that ended up being kinda disappointing to me, the voice-over sounds so affected this time around it just took me out of the film every-time it came on. The characters are barely sketches and when they do speak they mumble. Frustrating.
Such a lyrical and (obviously) beautiful piece of work. Who cares if it has no story, well, usually I do, but in this film there is something else there. Something in this film feels magical, it doesn't need to have story, I am satisfied with watching people walk around for 90 minutes. I find this extraordinary.
Not my favorite Terrence Malick outing but a beautiful film nonetheless. Richard Gere looks really young but isn't quite compelling enough. Great photography, though, and really impressive period art direction. There is also a sequence involving a field fire which is stunningly produced. Malick knows how to throw you in the middle of things and his careful eye for composition makes for a good film.
Obviously it has great cinematography, but I just didn't feel as involved as I thought I would be. I do appreciate the ethereal idyllic setting. The mood was perfect. I feel the second act was the strongest part of the film...