Right around this time of year, as it often happens, the film year begins
to rev up and start strutting its stuff in anticipation for a big movie summer.
Amidst the kiddie garbage that dots this season coming, many a big-time director
decides to alleviate the tension by unleashing their newest project on an
unsuspecting film-going world. For every ten TRANSFORMER and FAST AND THE
FURIOUS franchise dud that surfaces, often the work of an inspired director
slips in and bowls us over. Spielberg often saves us from the doldrums of the
season (his upcoming LINCOLN biography starring Daniel Day-Lewis and Sally Field
has movie hounds salivating with anticipation), and PIXAR seems to never let
most of us down (particularly if we have children in the house) but, rarely,
does the work of a reclusive genius rear its head towards us with the promise of
something truly special.
Kubrick. His work takes time and his work habits are methodical and as paced as
a great thinkers should be. Taking his time to perfect and make perfect every
frame of film that will click at 24 a second, his films often show themselves as
works of inspired intelligence that were truly worth the wait.
stark and hauntingly beautiful account of love on the run that was BADLANDS in
1973, he then sequed into DAYS OF HEAVEN (1977) and shattered the perceptions of
film as visual poetry forever. DAYS is, as Sam and I often commented, a visual
tome poem, almost completely devoid of dialoque, that works almost like a
visual, spiritual assault on the senses. Chronicling the budding tensions of a
deadly love triangle during the height of the depression, the visual dichotomy
of the movie set standards in a kind of film making that has often been related
to the filmic language of the late great works of the silent masters.
Basically, and for the novice, film speaking without words and allowing the
imagery to take over completely.
existensial take on death and the fears that seem foolish in light of the
journeys doorway opening, I have converted over the years and see the film as a
sublimely beautiful and visually arresting tour-de-force from a film-maker that
rarely presents what is initially seen as the surface to his films (and I will
admit that the film has usurped my fancies for the other big WWII drama of the
same year, Spielberg’s SAVING PRIVATE RYAN). THE THIN RED LINE is, like all of
Malick’s work, a film that works slowly to reveal its message and, like the film
that will follow, THE NEW WORLD (2005), needs repeat viewing to unfold a deeper
and more spiritual message to its viewer. It is this quality that resides in
EVERY film that Malick has made, draws legions of converts to his work and makes
every new film the director graciously decides to share with us not just a film,
but an anticipated event.
from others on the net that take film-going seriously. I must say that I have
quickly matched their enthusiasm with each word written and every clip and
snippet of the new film that has risen to the surface. Putting them all
together, what is the new film about? Hell, if I know. However, knowing Malick
from his previous work, it’s a futile gesture to try to guess as the surprise is
always worth the wait.
any other coming out for 2011.