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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"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.)
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.
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...