My piece on Terrence Malick’s 1978 film Days of Heaven has been published over at Static Mass Emporium:
Terrence Malick holds a unique place in my personal canon of film directors, partly because I discovered his films at a watershed moment when a passing interest in cinema was turning into something more consuming. His films fuse a European formalism and philosophical seriousness with a classically American pastoral aesthetic and sense of nostalgia. They hover somewhere around the boundary between the popular and the recondite, giving them the character of a strange cultural hybrid.
Malick’s debut feature, Badlands, is superficially a classic American crime film concerning a young runaway couple, borrowing from Bonnie And Clyde and the long prehistory of road trip narratives that forms a central current in the American cultural imagination, from Twain to Kerouac, The Wizard Of Oz to Easy Rider. Yet this traditional material is refashioned by the modernist narrative device of the unreliable narrator. This casts an uncertain light on its nostalgic aesthetic and throws the focus narcissistically back onto the film’s form as the key to its meaning.
Though Malick has never completely shed his connections with classically American cinematic tropes, his films have become progressively more abstract and formally adventurous. His later films are ponderously paced and heavily aestheticized visual poems, seemingly influenced by Andrei Tarkovsky. Meditations on time, memory and spirituality, they are also investigations of the relationship between form and content.
Days Of Heaven sits at the intersection of early and late Malick, retaining some of the cohesion of Badlands while pointing the way to the more ruminative style ofThe Thin Red Line, The New World and The Tree of Life.
Read the full piece here