Berry, Malick, and the Power of Love

Yesterday I went to see The Tree of Life for the second time. This viewing was a bit less overwhelming (last time I had watched two of Malick's films that day in preparation), but I was still a bit shaken after it. I also saw the film through a bit of a different lens this time, as I had just read Wendell Berry's Hannah Coulter and one of his books of poetry, Leavings. 


Both Coulter and Life are stories told through vignettes, which, together, sketch the life of a family. They tell the story of a family that is held together by love, but eventually, when the kids grow old, dissolves into the city of "a better place" as Berry puts it. Both also tell the story of the awesome power of nature - its beauty and power to heal. 


Malick takes the idea of nature in a bit of a different direction than Berry. He juxtaposes the destructive power of nature, its "war with itself, and need to be pleased," with the ever domineering father figure, played to perfection by Brad Pitt. Even with this picture of nature, magnified by countless images of nature combatting itself, there still is a feeling of immense awe at the beauty and harmony of nature. This also comes from one of Malick's trademarks of filmmaking, which is that he rarely if ever shoots any of his films inside, and he likes to use the natural sounds of the environment as much as possible in his scenes. This graceful side of nature is found in the mother's character, played by the wonderful "newcomer"Jessica Chastain. In the words of her character, "Grace doesn't try to please itself. Accepts being slighted, forgotten, disliked. Accepts insults and injuries." And later she says in a voice over, as beautiful images of nature are being shown, "Love. Wonder. Unless you love, your life will flash by." So Malick's answer to brutality is found also in nature.


For Berry, in Hannah Coulter, this brutality is found in the trenches of war. He sees war as a thing alien to nature, in which finds only peace and solace. In the words of Hannah, the novel's narrator, "The stream and the woods don't care if you love them. The place doesn't care if you love it. But for your own sake you had better love it. For the sake of all else you love, you had better love it."


While Berry is an outspoken Christian, Malick is not much of an outspoken anything. However, I do think it is somewhat safe to view him as such (it would at least seem so from all of his films). Berry often times (in the two books I have read) takes the side of nature, and points to man as a fallen creature. Malick, on the other hand, is willing to point to nature as having been effected by the fall just as man has (and in seemingly similar ways). Both do also find their answer in nature, though. For both artists it is the grace and love of and from nature that heals all wounds.

Seven Days of Malick Part Two

My project is really coming down to the wire now. I have two more Malick films, and less than twenty-four hours to complete them. Earlier today I checked The Thin Red Line off of my list, and I must say, Malick is really impressing me.


In order to fully understand his films, I think you need to know some of the background on Malick himself. In his early years, Malick worked on a farm until he was accepted into Harvard University to study Philosophy. After graduating from Harvard, he received a Rhodes scholarship to attend Oxford University, but eventually dropped out just shy of receiving his degree because of disputes with his Don over his thesis. He also studied film at the American Film Institute (the alma mater of fellow filmmakers Darren Aronofsky and David Lynch). Malick then went on to teach Philosophy to the students at MIT before taking on his first film, Badlands (1973). Five years later, he released Days of Heaven to critical acclaim, an Oscar for best cinematography (a staple of Malick's films), and an award for best director at Cannes. After he had reached heights that most filmmakers only dream of, Malick inextricably disappeared from filmmaking for a full twenty years. This was the first move towards anonymity for the filmmaker in a career marked with next to no interviews, no public appearances (even to his own premiers at festivals such as Cannes), and only one available publicity photo. It was later reported that he had moved to France in order to rediscover his first love: teaching philosophy. After avoiding the spotlight and teaching for two decades, Malick returned in full force with what is widely viewed as his best film: The Thin Red Line (1998).


So, imagine a brilliant professor of philosophy leading a discussion on mortality and eternity. Now, imagine a flawless filmmaker with a flair for beautiful, meticulously well composed images. Then put the two together and you will have a fairly good picture of the experience of watching a Terrence Malick film.


Before I watched The Thin Red Line, I had been told by several people that it (and other of his films) was intolerably slow and "boring." After seeing that the film runs almost three hours I have to say I was a bit nervous. However, even with the first shot I was enthralled with the film, and didn't look back until after the credits rolled. In addition to the excellent writing and directing, the cast is outstanding - and what an impressive cast list! The list of actors includes Nick Nolte, Jim Caviezel, Sean Penn, John Cusack, Adrien Brody, John C. Reilly, Woody Harrelson, Miranda Otto, John Travolta and George Clooney. Now before you start adding up the usual acting fee for even one of those names (even in 1998), I should point out that this film really has no central character, and for most of the characters it might even be a stretch to call it a supporting role (with the exception of Nolte, Caviezel and Penn who carry the film with brilliant performances). Some would argue that this lack of a true central character, and lack of true story line, are a failing on the filmmaker's part, but I would like to argue that yet again Malick has made a tactical choice that is intended to (and I believe does) put the audience into the shoes of the characters of the piece. The film revolves around one conflict in World War II in which US troops battle Japanese troops for land at Guadalcanal. The reason for the ever changing cast of characters is revealed in a line from Sean Penn's character near the end of the film when he remarks, "They just keep coming, over and over. You're in a box. They want you dead, or on the line." In this line Penn's character sums up the monotony of war. He is referring not only to the never ending cycle of opposition, but the never ending line of troops on his own side. When one brother dies by you, another comes along to replace him, and the cycle begins again. This is exactly the feeling that Malick conveys through his clever story telling, and I think clever casting as well by casting actors who are very commanding on screen (and well known actors at that) to play these roles of the never ending line of soldiers on the front line.


As for the argument that the pace of the film is too slow, I will concede that there were certainly times while watching it when Malick (in true philosophical form) would ask a deep searching question through his story, and I would find myself thinking about the question more than the immediate story. However, he intentionally gives you time to ponder these questions (while giving you a beautiful image to look at). Also, they are never fully divorced from, but rather greatly informed by the story being told. Another loosely connected style choice I love that Malick employs is that he always has his poetic, soul searching lines delivered by ordinary people. In Days of Heaven, he gave his greatest lines to a 14 year old girl with a southern accent. In this film, all of the characters are clearly soldiers who have been trained with guns rather than books, and yet this gives their thoughts an honesty that wouldn't come across if spoken by a bespectacled man of letters.


At his heart, Malick is a man who is searching for meaning in his existence, and this passionate search shines through in each of his films. I have two more to watch before going downtown to see Tree of Life tomorrow night, but I am already sad that I soon will not have any more of his films to look forward to. Malick (68), it would seem, is beginning to feel the weight of his mortality. A filmmaker known for taking his time between releasing films is already in post production for his next film, and appears to be lining up a new project soon. While this sounds like good news in that we have more films to look forward to, I only hope he can stay true to his meticulous, patient style, and not rush anything. Though if his history tells us anything about him, we shouldn't have anything to worry about.


Films to go:


Badlands (1973)
The New World (2005)

Seven Days of Malick

In preparation for Terrence Malick's The Tree of Life, I am following my standard ritual for a new film I am excited about: watch director's filmography in the week before I see it. Tonight, I started with Days of Heaven (1978) - his second film.

The film's cinematography is strikingly beautiful. Set in rural Texas(!), the landscape is almost a palpable character in the piece. What I found most striking about the film is the almost complete lack of exposition. Everything is shown, and very little is talked about (other than the voice over by the wonderful child actor playing Linda). Because of this, the characters emotions and thoughts are at a bit of a distance, but this seems to be the intention of Malick rather than a failing. The film is told through the eyes of a child, and we are made to feel the way that she would have: a bit confused at times, but the emotions are raw and real.

Overall, I think this was a wonderful introduction to Malick's films, and if the others are as good as this one, I will greatly enjoy these next 6 days of Malick films.

Up next: The Thin Red Line (1998 and his follow up to Days of Heaven)

In other news, today was a day filled with Doctor Who and puzzles! My sister bought a fairly daunting puzzle the other day, and my mother and I have been working on it for the past couple of days. Today: success! I may post a picture later. It may not look like a great achievement, but I would like to see you (faceless reader) attempt it! Also, re-reading Lewis's space trilogy. Always a fun set of books. About to re-read Orthodoxy for my book club ('tis our first book).

It is an odd thing having free time after such an eventful semester. I am trying to spend it wisely, but that is not always an easily discernible thing. Thankfully I should start my job on Monday, and I can feel like a contributing member of society again!

That's all for now!