Greetings again from the darkness. Some are calling this the third segment of a Terrence Malick trilogy – in conjunction with The Tree of Life (2011) and To The Wonder (2012). While the first of these three movies is considered an artful thought-inducing commentary on parenting and growing up, the third might just prove director Malick is the ultimate prankster … or maybe this is his grand social experiment to see just how far he can push his viewers.
Let’s start with the positive elements, as that won’t take long. Cinematographer Emmanuel Lubezki is an eight time Oscar nominee and three time winner (The Revenant, Birdman, Gravity), and has been the Director of Photography on these three Malick movies. He is a master with the camera, and truly creates art whether he is shooting nature, an isolated figure, or even the convoluted party scene in this latest. All three films are beautiful to look at … which doesn’t necessarily translate to being a pleasure to watch. OK, that’s the end of the good stuff.
The movie title, as well as the chapter titles flashed during the film, originates from Tarot cards. Unfortunately, the in-film titles seem to have little (or no) connection to the scenes that follow, nor those that precede. My guess is that Malick was playing truth or dare, and his opponent dared him to include Tarot cards in his next film … a worthy challenge for any director.
If you are looking for a story or anything approaching coherency or character development, Mr. Malick would have you believe that the trite tradition of beginning/middle/end is dead, and its replacement is a mosaic of barely related fragments with no need for such frivolity as conversation. Sure, the characters move their lips, but mostly what’s heard is whispered narration and mood music.
If somehow you aren’t yet excited to rush out to the theatre, perhaps you may be enticed by the random stream of empty or nearly empty buildings, odd angles of Los Angeles architecture, Christian Bale roaming the rocky desert, Las Vegas (just because), lots of fancy swimming pools, and family members apparently arguing (without us hearing most of their words, of course).
Here is what we know. Christian Bale plays a screenwriter apparently experiencing some type of writer’s block. While blocked, he reflects on his life and the six women with whom he had relationships (Cate Blanchett, Natalie Portman, Frieda Pinto, Teresa Palmer, Imogen Poots, Isabel Lucas). We know nothing of his character’s writing ability, but it’s obvious he has been successful in attracting beautiful women to his bed – and then, like most guys, screwing things up beyond repair. Bale’s character also has an angry (and perhaps ill) brother (Wes Bentley) and an angry (and perhaps ill) father (Brian Dennehy). At times, they are all angry together and angry at each other, and it’s apparently over the suicide of the youngest brother/son … though we are never clear on who blames who, or if they all blame each other and themselves.
To be sure, Terrence Malick is the only director making movies like this. His films attract the best actors working … even though no script exists. He may be the painter who paints like no other painter, and thereby appeals to the smallest possible audience. What I do know is that I counted 32 fellow movie goers walk out of the theatre during the movie, not to return. It’s possible the popcorn was somehow tainted, but more likely they value their time on Earth.
It’s certainly possible that my mental capacity falls substantially short of what’s required to comprehend the metaphysical Malick message. Or perhaps the project is as pretentious as it seems. Or perhaps I’m just not in on the joke. There is one line from the film that does make a point, “To suffer binds you to something higher than yourself”. Perhaps Malick is providing a service to those of us who suffer through this movie … if only we knew to what we were being bound.
Oh, and what’s with the helicopters?
watch the trailer … try muting the sound and closing your eyes for the full experience.