The Theme of Being in Terrence Malick’s Movies

Terrence Malick is a contemporary filmmaker whose movies often explore the profound question of the meaning of life. What makes his films resonate so deeply with spectators? In this essay, I will review how Malick addresses this question through his visually rich, semiotic-laden language and his scriptwriting, and what he is trying to convey with his movies. Malick's unique approach makes his films philosophical, and understanding this approach requires delving into his academic background in philosophy and his distinctive filmmaking methods.

It is no secret that Malick often does not work with a conventional script. Most of the time, his characters explain who they are through interactions and improvisation. Malick works with actors like a psychologist, guiding them to express their characters' feelings. On set, they essentially live their characters, creating scenes that reflect a deep, conversational collaboration with Malick. This approach makes his films unpredictable and vivid, allowing actors to connect with their characters so purely that they can "live" the film. For example, a deer wandering onto the set during the filming of Knight of cups was an unplanned event that Malick incorporated into the film, demonstrating his ability to preserve natural, spontaneous moments. Malick gives his characters freedom to move, and the same freedom extends to the camera, which can follow flying birds even during a conversation. He consciously uses wide-angle lenses to show his characters within their environment, reminding viewers of the interplay between the characters and their surroundings. This technique underscores the idea of destiny and the characters' inability to change their fates. His camera often "flies" around, adding a sense of melancholy or solitude that connects Malick's characters with nature and, by extension, the audience.

In Days of Heaven, Terrence Malick employs Linda as the narrator. Despite her young age, Linda possesses an uncommon wisdom, sharing her thoughts about the future and intertwining her observations of people with the natural world. Her use of the pronoun "you" creates an intimate connection with the audience, making her stories and thoughts feel personally shared. She consistently demonstrates compassion toward the characters, as seen in her remarks like "nobody’s perfect" or "you should see people on the shore." [1] This approach reflects Malick’s intention to encourage viewers to consider characters from different perspectives. In all of Malick’s films, the characters follow simple moral paths, often driven by circumstances where their actions are not meant to destroy or harm, but to survive or seek a better life. Stanley Cavell named the movie a "metaphysical vision of the world." [2] He also mentioned that films in general are not real, but the way Malick creates his movies it puts us to self-reflect and analyze, which brings a reality to this experience. Rybin compares Malick's Days of Heaven with a Goodman philosophy where Malick creates the emotional bond between spectator and character by using voice-over which creates a connection between the unreal and real world. [3]

Malick consistently juxtaposes the real and ideal worlds in his movies, transitioning from the characters' sense of lostness to the calmness of nature. In The Thin Red Line, the main character, who also serves as the narrator, consistently perceives light. His fellow soldiers mock his weirdness, calling him a "magician," yet his narrative emphasizes a deep connection with nature. This creates a dialogue where Malick uses elements like light or wind as nature's responses. For example, footage of wild dogs is accompanied by the narrator's voice declaring, "War doesn’t ennoble men. It turns them into dogs." [4] Malick’s films always offer multiple perspectives, making his movies deeply philosophical. Rybin, in his book, highlights similarities between Heidegger’s philosophy and Malick’s usage of it, especially in The Thin Red Line, where characters on the battlefield struggle not only physically but also mentally. The voiceovers constantly ask questions about existence and seek to find meaning in war. [5] The dialogues between the characters Witt and Welsh represent a philosophical battle. Welsh’s worldview is more materialistic, as he frequently mentions that he cannot see what Witt sees, as if it is something sublime. Welsh describes war as a "property" where man must survive. In contrast, Witt focuses on the existence of the world and often contemplates a larger or different reality. After Welsh expresses his views, Witt often responds with thoughts about the bigger or different world, questioning death itself and discussing the immortality of the soul. As the camera follows Welsh tending to his men in the lush green twilight, a voiceover—Witt’s, not Welsh’s—reflects on the subjectivity of human perception: “One man looks at a dying bird and thinks there’s nothing but unanswered pain. Another man sees that same bird and feels the glory.” [6]

In The Thin Red Line and The New World, Terrence Malick uses individual examples to illustrate the absence of personal choice against the backdrop of national priorities. [7] He transitions from the characters' lostness to the calmness of nature, using natural elements to reflect their inner thoughts. Cavell interprets this as a visual meditation. [8] The New World represents the pinnacle of Malick's technical achievements, with a set of rules guiding its filming. While his earlier movies were more experimental, in The New World, Malick consciously chose to backlight scenes to achieve even lighting. [9] Malick also employs non-continuity editing, mismatching shots, and consciously removing obvious connections between scenes, prompting viewers to analyze the symbolic meanings throughout his films. He guides the audience with natural sounds and solemn music, capturing the moment the English set their anchors on the wild shore. Using the natural colors of Pocahontas' clothing as a symbol, Malick conveys that despite the changes in her world, she remains a girl of nature. This reflects Malick's profound ideas in her character, as she promises herself after being banished from her tribe, “I will find joy in all I see.” [10] Upon arriving in Britain, the camera shows us that, despite being an object of curiosity, Pocahontas remains calm and curious about the new world around her. This symbolizes her acceptance of both the people and herself as part of the same humanity.

Last but not least, Malick’s connection to religion, or more precisely spirituality, is a recurring theme that ties all his movies together. In Days of Heaven, viewers can observe an Orthodox wedding. In The New World, there is a poignant scene where Pocahontas is baptized as Rebecca. Furthermore, The New World itself is inspired by the biblical concept of Eden and the Fall, highlighted by the language of the indigenous population, which lacks words for concepts like jealousy or possession. Pocahontas’s character is deeply connected with nature, and she constantly communicates with it as if it were her mother, often offering prayers. Malick frequently uses water in his films during scenes of cleansing: soldiers washing in the water after a battle in The Thin Red Line, the death of the main character in Days of Heaven after a long chase by the police, symbolizing his ultimate freedom and resolution in his quest for a righteous life, and the first physical contact between Pocahontas and John Smith in The New World, which underscores the vulnerability of the moment. [11]

In conclusion, Terrence Malick's films offer a profound exploration of the theme of being, deeply influenced by his academic background in philosophy and unique filmmaking methods. By foregoing conventional scripts and embracing improvisation, Malick enables his actors to fully embody their characters, resulting in performances that are both authentic and lifelike. His use of wide-angle lenses and fluid camera movements highlights the interplay between characters and their environments, reinforcing themes of destiny and connectivity. Through voiceovers, narrative perspectives, and spiritual elements, Malick invites viewers into a contemplative experience, encouraging deep reflection on existence. Malick’s films evoke philosophical questions and encourage viewers to notice the universe around them, appreciate nature, and understand our connection to it. His work supports us in our solitude, reminding us that essential things will always be present in our lives. He urges us to believe in love and sincerity and to view life not in terms of good and bad, but as phases of existence. Through his unique style, Malick not only conveys his philosophical vision but also promotes a broader reflection on what it means to be human, enriching our understanding of life and our place within the natural world.

References

1. Michaels, Lloyd. Terrence Malick. Urbana: University of Illinois Press, 2008

2. Woessner, Martin. What Is Heideggerian Cinema? Film, Philosophy, and Cultural Mobility. Duke University Press.

3. Rybin, Steven. Terrence Malick and the Thought of Film. Lanham, MD: Lexington Books/Fortress Academic, 2011.

4. Ibid

5. Rybin, Steven. Terrence Malick and the Thought of Film. Lanham, MD: Lexington Books/Fortress Academic, 2011

6. Michaels, Lloyd. Terrence Malick. Urbana: University of Illinois Press, 2008

7. Ibid.

8. Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. 1979.

9. YouTube. Like Stories of Old. "Understanding the Films of Terrence Malick." YouTube video, 16:07. July 16, 2020.

10. Rybin, Steven. Terrence Malick and the Thought of Film. Lanham, MD: Lexington Books/Fortress Academic, 2011.

11. Michaels, Lloyd. Terrence Malick. Urbana: University of Illinois Press, 2008
    

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