In a film that was secondary in my introduction to Terrence Malick, his world of estranged people took in my mind what would have been essentially a film like "Rebel without a Cause" and turned into an allegorical narrative, inspired by Charles Starkweather and Caril Ann Fugate, about the seemingly halcyon lives of Kit and Holly. Kit in a fierce tragedian move killed Holly's Father for her love; obviously in this quixotic world, it was more hobson's choice then a behemoth dilemma about which lives she takes. It's in the same vein as a Shakespeare story and the film couldn't make its lucid poetry any more clearer then the conflagration, which is orchestrated by music of spontaneity.
As we go through the film, the narrative, relayed by Holly, would seem pretty monotonous and quite graining, but here it speaks the soft and wondrous sounds of a world with which acts in opposition. We see Adam and Eve, we see the life on a farm and we see them act like moguls; Malik also plays on individual alternate paths as Holly looks at genealogical pictures and knows that her life could never be the way it's.
The film is seemingly facile, but as it goes on, it pulls at the heart strings, makes you feel detached from any possible sense of wilderness and comfort and it culminates in the end when the last thing on Martin Sheen's characters mind is whether or not he can get a hat. It's really marvellous in doing so; some flaws would come from how realistic the story is in communicating the events of 1958. But I felt chilled to the bone, like I did with "Mirror" by Andrei Tarkovsky or even further back to "2001: A Space Odyssey" by Kubrick is that the world is rendered in the eyes of two young people who decided to go adrift into a world of chaos and most beautifully and swishing framed landscapes, which Kitt just wanted to embrace. Every errand is with a gun - it's as though his only resource isn't by sociological means, but by a pathological need for things to be done his way. In a way he's a selfish reprobate. And this is what makes the film interesting - there's no protagonist, not even bounty hunters, as they're looked at as though they're prey.
The part that put me in a very tentative position to judge the film was when they went to the Moguls house. I look at that now as an adventure like we're going through their terrible journey as well and it may not make a lot of sense, but I consider it to be part of an unduly ride. In the end, the films dialogue, powerhouse acting and naturalistic look make it a must to pick up. Completely imperative and it just goes to show that Maliks profession underlay in poetry because he certainly made it into transition as a film maker!
As we go through the film, the narrative, relayed by Holly, would seem pretty monotonous and quite graining, but here it speaks the soft and wondrous sounds of a world with which acts in opposition. We see Adam and Eve, we see the life on a farm and we see them act like moguls; Malik also plays on individual alternate paths as Holly looks at genealogical pictures and knows that her life could never be the way it's.
The film is seemingly facile, but as it goes on, it pulls at the heart strings, makes you feel detached from any possible sense of wilderness and comfort and it culminates in the end when the last thing on Martin Sheen's characters mind is whether or not he can get a hat. It's really marvellous in doing so; some flaws would come from how realistic the story is in communicating the events of 1958. But I felt chilled to the bone, like I did with "Mirror" by Andrei Tarkovsky or even further back to "2001: A Space Odyssey" by Kubrick is that the world is rendered in the eyes of two young people who decided to go adrift into a world of chaos and most beautifully and swishing framed landscapes, which Kitt just wanted to embrace. Every errand is with a gun - it's as though his only resource isn't by sociological means, but by a pathological need for things to be done his way. In a way he's a selfish reprobate. And this is what makes the film interesting - there's no protagonist, not even bounty hunters, as they're looked at as though they're prey.
The part that put me in a very tentative position to judge the film was when they went to the Moguls house. I look at that now as an adventure like we're going through their terrible journey as well and it may not make a lot of sense, but I consider it to be part of an unduly ride. In the end, the films dialogue, powerhouse acting and naturalistic look make it a must to pick up. Completely imperative and it just goes to show that Maliks profession underlay in poetry because he certainly made it into transition as a film maker!
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