Although he uses established stars, Malick employs them in the sense that the French director Robert Bresson intended when he called actors "models." Ben Affleck here isn't the star of " Argo" but a man, often silent, intoxicated by love and then by loss. As it continued, I realized many films could miss a great deal. In both films, he is absorbed in living and dining rooms, looking out upon neat lawns and neighborhood pastoral peace.Īs the film opened, I wondered if I was missing something. We don't need to be told Malick's in an autobiographical vein here these memories surely belong to the storyteller. The mood is often similar to the feelings of the early small-town scenes in " The Tree of Life." Malick has a repertory of fundamental images he draws upon. Quintana visits prisoners, the ill, the poor and the illiterate, whose dialogue is half-understood even by themselves.Īs all of these relationships intertwine, Malick depicts them with deliberate beauty and painterly care. His faith has been challenged, and many of his statements are directed toward Jesus Christ, as a sort of former lover. We can almost smell the furniture varnish. In Oklahoma, we meet Father Quintana ( Javier Bardem), a priest from Europe, whose church is new and brightly lit. Neil reconnects with Jane ( Rachel McAdams), an American girl he was once in love with, and romantic perfection between he and Marina seems to slip away. Again there is the hushed serenity as in France, but differences grow between them, and there is anger now in some of their words. Oh, there are people here, but we see few of them and engage with only a handful. Marina, a single mother, decides to move with her little daughter, Tatiana, to America with Neil, and the setting suddenly becomes the flatlands of Oklahoma, a land seen here as nearly unpopulated.
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