{"id":6986,"date":"2022-12-01T05:06:35","date_gmt":"2022-12-01T05:06:35","guid":{"rendered":"http:\/\/farefwd.com\/?p=6986"},"modified":"2022-12-17T00:53:23","modified_gmt":"2022-12-17T00:53:23","slug":"malick-movie-magic","status":"publish","type":"post","link":"https:\/\/farefwd.com\/index.php\/2022\/12\/01\/malick-movie-magic\/","title":{"rendered":"Malick Movie Magic"},"content":{"rendered":"\t\t
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Malick Movie Magic<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Movies capture life\u2014and Terrence Malick\u2019s do it best.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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By Fr. Timothy Danaher
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I am a Catholic priest, and the most influential living thinker in my life is Anglican. I hold degrees in sacred theology, and my worldview has been most shaped by movies. I stake my life on prayer and silence and closing my eyes, but I open them to the silver screen and am moved by grace in ways inexplicable.\u00a0<\/p>

I admit, this introduction is meant to be provocative. Every statement needs clarification. I have many living influences in real people, real priests, friends, and families… yet the statement stands. Terrence Malick has not simply entertained me over the years, he has changed the way I experience the reality of daily life.\u00a0<\/p>

Since my high school years, I’ve sought somewhat consciously to become “cultured.” Before then, I traded baseball cards with my classmates up until the sixth grade, and my main motive for reading literature was the BOOK IT! Program\u2014taking my punch card to the local Pizza Hut for my personal pan pizza. To this day, I experience no shame for such actions. But in my later teenage years, I noticed a fellow lifeguard at the public swimming pool listening to a Brahms symphony on his Sony Walkman. My first symphony was with my dad and little brother in Pittsburgh. We got tickets from his work connections in car dealerships, and we sat in the front row near the bass section as they played Mazursky’s Night on Bald Mountain<\/em>. It was just Disney enough to appeal to me and just classical enough to develop my taste for the higher arts. Since then I’ve studied Shakespeare, ancient languages, and philosophy. I’ve been to Mass at Notre-Dame de Paris and walked the ancient ruins of Pompeii. Still, a trip to the movies is, for me, the ultimate expression of art and intelligence.\u00a0<\/p>

I speak not of every movie and certainly no Marvel movies. I speak not only of Terrence Malick, but I speak primarily of him. My personal theory is that movies are the highest of all art forms as they combine harmoniously\u2014like a symphony\u2014all other art forms. Dialogue and plot from theater, narration from books, real-life motion and color from photography, special effects from painting, and great music combine with the story of movements of the heart. Of all art, movies come closest to imitating real life and may even enhance it in the telling. They seek to give us not an object to consider, but a life experience to enter. They are like Aristotle’s power of Common Sense, combining all the senses into one steady psychological experience. Their magic at its best is when we enter the movie’s own experience, forgetting our own, entrusting our mind to the art, so that we walk out of the theater into the parking lot wondering what time and day it is, full of new thoughts and impressions. In a word, they transport us.\u00a0<\/p>

What of Malick in particular? I want to approach him by two avenues: the man and his works.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Each moment of film unlocks long-forgotten memories for the viewer.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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First, the man. Malick’s biography is woven into every one of his films. The New World <\/em>meditates on the American soil he calls home, and Thin Red Line <\/em>follows Americans far from that soil. To the Wonder <\/em>is a look over the shoulder at his failed marriage in France, traveling to his hometown in Oklahoma, and bearing his own lament for the difficulty of finding divine love in the modern age, where monasteries are now museums for couples to browse and cuddle after lunch. The Knight of Cups <\/em>chronicles the networking world of Hollywood which he has forever avoided but still wants to tell us why: its pulsing neon nightlife, its many cruel kings, and its Midwest victims who can’t keep a steady girlfriend or a role for that matter. Even A Hidden Life, <\/em>which focuses not on the director but the Austrian martyr Franz J\u00e4gerst\u00e4tter, was shot in the man’s own family home and premiered for his three elderly daughters in their living room before Cannes. Malick’s behavior is reverent\u2014not just the usual Hollywood ideologies.\u00a0\u00a0<\/p>

The most delicate details of his autobiography are in The Tree of Life<\/em>. It is at once an intellectual journal of his views of God, suffering, and the Big Bang. It weaves in details of his own childhood, a tale of the nursery and of mom and dad, told in the context of the vast and primordial cosmos (which is actually the context where our human story takes place still). Each moment of film unlocks long-forgotten memories for the viewer. And it is a eulogy to two people who showed him God by their daily goodness. It opens with whispered lines: “Brother. Mother. It was they that led me to your door.” Malick’s little brother was a classical guitar student who studied in Spain, despaired of the task, broke his own hands, then took his own life. No other film details the process of spiritual surrender like his mother in the final scene at the beach, surrounded by angel muses, saying to heaven, “I give you my son.” All the intellectual turmoil finds final answer in peace of heart and will.<\/p>

The final note on his biography is his twenty-year disappearance between his first two films and all the others. Peter Biskind wrote an article for Vanity Fair<\/em> detailing how exactly he spent all that time away before he returned to cinema in Rip Van Winkle fashion with Thin Red Line<\/em> in 1998. Many years were spent in France, married and also befriending Martin Sheen, whom he brought back into the Church by assigning a heavy diet of literature involving much Dostoyevski. Mostly, lesser film projects were taken up and abandoned, haunted as he was by a personal quest for making the perfect film. He labeled it Project Q. He only described it as equal to photographing a single drop of water. He wrote rough drafts, with the first scene involving an underwater Norse god and a neon fish swimming into his nostril. Half a lifetime later, that film would be released as The Tree of Life.<\/em><\/p>

Malick\u2019s big fish had been caught, and the world half understood. Its premiere ended with boos from the audience, until others responded with applause to outdo them, enough to win the highest award, the Golden Palm. He did not appear afterward at the press conference, as usual.<\/p>

After that he produced a slew of quick films, all amazing for members of his fan club. An old man, his final film The Way of the Wind<\/em> wrapped filming three years ago. It is on the parables of Jesus. Someone close to him commented that he is \u201cdeep in editing of that film\u2026 and there is no end in sight\u2026 to the point that some around him feel it may wind up an unfinished symphony.\u201d\u00a0<\/p>

Even if he dies, I just hope to see it before I do.\u00a0<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Terrence Malick considers everything in life and death, and for this, he is Hollywood\u2019s only contemplative.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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As the man, so his work is difficult to capture and summarize. Here I will do my best.<\/p>

Instead of dialogue, Malick often uses the camera alone. Images speak for the narrative. John Smith and Pocahontas wrestle extensively in the eastern seaboard grasses, then the shot cuts and holds on a flowing stream. In the theater as a high schooler, I was bored by this. Watching it again, I ponder the whole flavor of America.\u00a0<\/p>

Instead of a script, he directs his actors to interact and even improvise their lines. Auditions for leads in A Hidden Life <\/em>sat together and silently cut apples as their tryout. Paparazzi see him filming Christian Bale and various girlfriends wandering around Las Vegas, with no set and no lighting. Those shots were actual scenes in a final cut. Sometimes the camera rolls for over a half hour with no direction, to capture true-to-life moments. \u201cHe\u2019s like a guy with a butterfly net waiting for the truth to go by,\u201d Brad Pitt said of him. There is a famous scene in Thin Red Line <\/em>when the pessimist Penn asks Caviziel, \u201cYou still believing in the beautiful light are you? How do you do that? You\u2019re a magician to me.\u201d He replies, \u201cI still see a spark in you.\u201d It was all unscripted and an extension of their actual faith-doubt conversations at the bar over those months, and Malick was looking for just that kind of moment to capture, written by them and not him.<\/p>

His movies have a narrator throughout because our lives do, that stream-of-consciousness we cannot stop. I was able to see Christopher Nolan interviewed at the Library of Congress back in 2017. He spoke of Star Wars <\/em>as his childhood influences. When asked of contemporary ones, he said Malick, because Malick taught him to develop real characters by way of their memories narrated throughout.\u00a0\u00a0<\/p>

Instead of a soundtrack, his movies are a canvas for his lifetime of classical music tastes. Respighi colors a couple\u2019s honeymoon years. Tavener\u2019s \u201cFuneral Canticle\u201d intones grief for a lost brother. Wojciech Kilar\u2019s \u201cExodus\u201d plays seven times in a film every time a new girlfriend enters and promises escape.\u00a0<\/p>

Then comes philosophy. His references are more than the constant thought of death, which many cite as Heidegger\u2019s influence. Plato\u2019s Phaedrus <\/em>is quoted, the description of how the soul used to have wings, while a listless Los Angeles couple are at the aquarium. Rousseau\u2019s noble savage idea is refuted when Caviziel escapes the army and visits the paradise of a Solomon Island tribe and sees skin diseases and skulls on their living room shelves.<\/p>

The Knights of Columbus gave him an IMAX grant to make a \u201cfamily friendly film.\u201d He dispatched camera teams across the globe and used that footage instead for nature and evolution sequences in The Tree of Life<\/em>. They later called him on it, so he hastily put together a documentary on the birth and death of the universe. Brad Pitt narrates, and at one point he lists out all things, from mountain ranges to a mere atom, searching for a verb to describe what they all do all the time. \u201cBlazing,\u201d he says. Reality is blazing forth and is worth our attention in detail, Malick reminds us.\u00a0\u00a0\u00a0<\/p>

An enduring theme is that of his unfinished doctoral work at Oxford: our concept of the world around us. This is lava meeting the cold sea, but it is also the sustained shot of the streetlamp in suburban Oklahoma in the evening, or looking into a living room from the yard outside. In To The Wonder<\/em>, the couple is raging in their living room, then the shot breaks to a coral reef and a sea turtle swimming by. The narrator says, “Which is the truth? What we know up there or down here?” In his script for Tree of Life<\/em>, he twice laments that we moderns live under roofs and have shut out the stars! All the universe is connected and must be considered as such. The script reads in one section: \u201cA child; the similarity in form between the shape of his ear and that of an oyster shell, between the cowlick at the crown of his head and a galaxy… A rose, unfolding. Life surpassing itself.”<\/p>

Just as he meditates on earth, so also heaven. The script ends like Dante\u2019s Divine Comedy<\/em> at a loss for actually picturing heaven. Instead he limits himself to its shore, actors all happily reuniting on the beach of the Great Salt Lake. Then the image of a bridge to another land. Then cut. In other films, paradise is sought. Olga Kurylenko addresses God repeatedly as, \u201cLove that loves us.\u201d Caviziel embraces death in the jungle with a joyful and godlike gleam in his eye. False paradise is also shown for what it is. Song to Song<\/em> wryly plays on the Biblical title as Natalie Portman\u2019s exaltation from diner waitress to Austin highrise results in the opposite of paradise. She stares in disbelief at the prostitute that Fassbender pays to join them in bed, and she is later found by him face down in his swimming pool.\u00a0<\/p>

Terrence Malick considers everything in life and death, and for this, he is Hollywood\u2019s only contemplative. His style is entirely his own, and it seems he\u2019s fine with that. Still, he is in dialogue with others of his craft. A Hidden Life<\/em>, which is also in dialogue with Bergman\u2019s The Seventh Seal, <\/em>was written in response to Scorsese\u2019s movie on Jesuit missionaries, Silence. <\/em>Malick saw the film, asked the director in a letter, \u201cWhat is it that Christ asks of us?\u201d and then went on to make a better film in response.\u00a0<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cLead us, guide us, until the end of time.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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I conclude with two inadequate statements. First, converts can be made. I\u2019ve known friends who balk at Malick\u2019s style, but once it\u2019s explained, have learned to appreciate it on a second attempt. His style is always serious, and from an editing perspective, he intends it to be perfect. Every moment has meaning. I don\u2019t know other films like that, except perhaps the perfect film of Home Alone<\/em>, but that\u2019s an in-person argument we would have to commence over a drink.\u00a0<\/p>

Lastly, I write this out of personal love more than any expertise. My love for Malick began in a personal way. He was born in Ottawa, Illinois, as was my father. Our fathers were equally tough on us, and our mothers both pointed to the sky and told us, \u201cThat\u2019s where God lives.\u201d As in The Tree of Life<\/em>, I grew up the middle of three brothers and the quietest. As in Texas, our Ohio neighborhood right out the front door was like a cosmos to us. And there was so much glory in every summer and every neighbor kid and every painful family dinner on thick plastic plates. Life has moved on, and all I can say is I\u2019m glad the details of those years are all caught in film. His memories awaken mine every time I watch. His other films speak to me as a friend, to consider the history which we share: American roots and children of God and grieving the insanities of the modern world. That is to say, all of reality.\u00a0

To the Wonder <\/em>quite literally turns into a prayer in the end, Bardem as a priest visiting poor homes like Mother Teresa and praying like St. Patrick. So should every conclusion reach beyond itself as an invocation. I will simply repeat a quote from the end of The Tree of Life <\/em>which more than a few times I\u2019ve snuck into Catholic Mass, closing out the Universal Prayer where we say, \u201cLord, hear our prayer,\u201d and move to the altar. As we move back into the next moments of real life, with Malick, I pray to the God of the universe, \u201cLead us, guide us, until the end of time.\u201d<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Fr. Timothy Danaher<\/strong>, O.P., is a Dominican friar and the chaplain of Aquinas House at Dartmouth College. His academic background is in American Literature and Theology. He was ordained in 2018 and, in addition to church settings, has served in hospital and Hispanic ministries.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Movies capture life\u2014and Terrence Malick\u2019s do it best. By Fr. Timothy 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