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Description
For a director who has made a limited number of
feature films over four-plus decades, Terrence
Malick sustains an extraordinary reputation as
one of America8217smost original and
independent directors. Lloyd Michaels analyzes
Malick8217sfirst four features in depth,
emphasizing both repetitive formal techniques
such as voiceover and long lens cinematography as
well as recurrent themes drawn from the
director8217sacademic training in modern
philosophy. Like Heidegger, Malick seems to
regard the human experience of nature as a
mystery revealed primarily through moods rather
than cognition. Like Wittgenstein, he is less
concerned with apprehending the world than with
simply acknowledging its beingnessnbspMicaels's
critical approach explores Malick8217ssynthesis
of the romance of mythic American experience and
the aesthetics of European art film. He pays
particular attention to paradigmatic moments the
billboard sequence innbspBadands,nbsptheopening
credits fornbspDay of Heaven,nbspthephilosophica
l colloquies between Witt and Welsh
innbspTheThin Red Line,nbspandthe epilogue
ofnbspTheNew World.nbspMicaels also sheds light
on the two dark decades separatingnbspDay of
HeavennbspfronbspTheThin Red Line, when the
director mostly lived as an expatriate in Paris.
Two 1975 interviews with the famously elusive
Malick round out the volume.