Days of Heaven:
Have seen it before, but the bluray confirmed that it just might be the most gorgeous movie I have seen. Just beautifully shot.
Agreed. Badlands and Thin Red Line also Malick movies in the Criterion collection.
Thin Red Line will be in a couple weeks when the 8yo goes back to school. Will be able to tackle some longer movies during the day.
this is a good but unsatisfying film in a lot of ways. it's a mess of storytelling for the most part. it also bears the burden of being the first Malick film after his hiatus. there may come a time when his "directors" cut makes it to the market and it may be better. there were character arcs and scenes just cut out of the thing. i think the running time he showed the studio was like 7 hours. also, i don't remember the book being set up much like the movie at all.
Agree with this...
me too- and I loved the movie... but yeah, it's a mess... and awfully pretentious (everybody's inner voice narrative is a poet laureate?)
TL/DR alert!I also loved the movie, and after watching it again (third or fourth time?), do think it is great. For me, one of the best war movies I've ever seen (Apocalypse Now probably my favorite, Kubrick's Paths of Glory and Dr. Strangelove also seminal anti-war films about martial madness). I must be in the minority, based on a few other similar reviews. BTW, has anybody seen it more than once. Maybe not, if it was viewed as severely flawed the first go round? The only reason I ask, I think I probably saw it similarly the first time, but I began to appreciate it more after a few viewings.
Malick's directorial mechanics underlying his unique style (arguably one America's greatest living directors imo, and I think in some critical circles, and this includes Scorcese, Coppola, etc.) involve extreme overshooting , and letting the "finished" vision emerge during the process of editing. He reportedly shot over a million feet of film for Thin Red Line, and it took three editors approximately two years to coalesce (such as it is

). Many actors such as Bill Pullman and Mickey Rourke were completely eliminated and left on the cutting room floor. Adrian Brody went from maybe the central starring role, to an afterthought and little more than a few cameos. Jim "Evel" Caviezel's role was the complete opposite, from conception to realization.
Another Malick signature is the voice over, which is there from the beginning. Badlands with a young Cissy Spacek is in some ways reminiscent of To Kill A Mockingbird (with some formative events in a young girl's life recounted from an older perspective), IF Scout had befriended a serial killer. His next movie Days of Heaven wasn't planned as such, but others described the movie taking a very different shape and tone once he heavily cut the dialogue and used the voice over narration of the young girl as a kind of connective tissue to the whole, and adding another layer, level and dimensionality. Both of these stream of consciousness internal narratives are alike in being simple, home spun, sometimes quirky, not necessarily to advance the plot or serve as exposition, but just convey a sense of the character, place or time that would be hard to do in any other way.
The Thin Red Line (after a two decade hiatus, the longest I can think of for a major director) did depart from the previous two films with the multiple narrator voice overs. Read the beginning of the novel source material but it was a while ago, so don't recall how close or far away the film was in terms of structure and style. His daughter said that after writing a first draft for six months and his wife critiquing it as too clinical, he just scrapped it and started over. His breakthrough was in describing C (Charlie) Company as an ORGANISM, like a big worm squirming through the jungle. The author (who also wrote the novel source material for even more successful film vehicle/adaptation From Here To Forever) supposedly hated war movies, and thought they were near universally fake. I think a central theme of his writing was deglamorizing and deglorifying war, and not glossing over the real horror. My impression of the split inner narratives/voice overs was to make it more real and powerful overall. In an actual war situation, you wouldn't have everybody with headphones and an omniscient narrator describing what was happening for everybody. Everybody would have their own thoughts, sometimes similar, sometimes very different (in some ways, maybe this resembled Wings of Desire, don't know if that was an influence - though in that case, the angelic mind reading was of generally more prosaic material). Leading up to the climactic conclusion of the hill battles, a visual of the Japanese pill boxes/machine gun nests is withheld from the viewer, leaving the viewer just as in the dark and disoriented as the soldiers about how and where they are being decimated from, and (as much as is possible vicariously through film) capturing the fog of war experience.
Until the major battle sequences were resolved about 2/3 to 3/4 of the way through the film, there was maybe only about 5-10 minutes total of cumulative voice over (?), definitely more towards the end. Some appeared to be working in some of the author's material. It should be noted, he was a soldier (though with very little combat experience due to an injury), but also later a writer, so some of his reflections that may have appeared mock profound in the words/thoughts of an 18-20 year old soldier, were coming from the perspective of an older person - again, maybe not unlike in To Kill A Mockingbird. Not all were super profound (Where does evil come from?), though the end part did sound like it came from Malick's philosophy and sensibility (paraphrasing - Soul, look through these eyes and see what you have created). He is a big thinker who translated a work by Heidegger after dropping out of a doctoral program at Oxford, and taught at MIT, probably another unprecedented aspect of his resume among directors.
He seems in someways part of an American Transcendentalist tradition (Emerson, etc.), seeing God in nature, though in his case, not necessarily with a superior place. In Badlands and Days of Heaven, a recurring theme was humanity being dwarfed and haunted, almost oppressed by immense spaces, maybe contributing to a sort of "frontier insanity". Some of my favorite parts of this trio are the many shots of nature and creation, the elements (fire, Biblical plagues of locusts, etc.) and cycle of the seasons in the midst of the ostensible story almost overlaying a spectral eternity to the whole, or in some cases putting that into the foreground and pushing humanity and the story into the background?
There is an annual Hemingway stylistic likeness contest. I wonder if The Thin Red Line would have been improved if more of the voice overs were about more mundane subjects and matters, arguably more consonant with the life experiences and concerns of a teenage soldier? "What is a shart, where do they come from?"