Deep Dive: Days of Heaven - A Visual Masterpiece of American Cinema
Join us as we examine Terrence Malick's Days of Heaven in detail, exploring its themes, production context, and reception. From its place in American cinema to its reflection of the human condition, we'll investigate why this film is considered a visual masterpiece.
Here at Rewind Zone, we believe that every film is a tapestry of meanings, intentions, and cultural reflections. Our mission is to peel back these layers, offering insights and explanations that may not be immediately apparent to the viewer. We dive deep into the heart of cinema, exploring the nuances that make each film a unique piece of art and social commentary.
Today, we turn our analytical lens to the 1978 film Days of Heaven, directed by Terrence Malick in only his second feature film. This movie, often praised for its stunning visuals but sometimes criticised for its sparse dialogue, raises several questions: Is its beauty merely skin deep? Does it offer more substance than its detractors claim? What deeper themes lie beneath its breathtaking surface?
Film Overview: Days of Heaven (1978)
Days of Heaven is a 1978 American drama film written and directed by Terrence Malick. Set in 1916, the story follows a young couple, Bill and Abby, and Bill's little sister Linda, who leave Chicago to work as harvesters on a wealthy farmer's Texas Panhandle farm.
Key details:
- Director: Terrence Malick
- Release year: 1978
- Setting: Texas Panhandle, 1916
- Main cast: Richard Gere (Bill), Brooke Adams (Abby), Linda Manz (Linda), Sam Shepard (The Farmer)
Plot summary: Bill and Abby pose as siblings to avoid gossip. When the farmer falls in love with Abby, Bill encourages her to marry him, hoping they can inherit his wealth when he dies from a terminal illness. As they live on the farm, a complex love triangle develops, set against the backdrop of the harsh and beautiful landscape.
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Terrence Malick: Setting the Stage
Before delving into Days of Heaven, it's crucial to understand its director and the expectations set by his debut film.
Badlands (1973)
Malick's debut feature, Badlands, introduced audiences to his unique style of filmmaking. Set against the backdrop of 1950s America, it blended poetic visuals with a stark narrative of violence and alienation.
Key elements:
- Lyrical narration
- Contrast between beautiful imagery and dark themes
- Exploration of American mythos
- Sparse but meaningful dialogue
The transition from Badlands to Days of Heaven marks Malick's evolution as a filmmaker, moving from a narrative-driven approach to a more poetic, visually-orientated style. This shift is evident in the way Days of Heaven relies less on plot and more on mood, atmosphere, and the interplay between human drama and the natural world. The seeds planted in Badlands flourished into full bloom in Days of Heaven, cementing Malick's reputation as a visionary director with a distinct, meditative approach to cinema.
Malick's Approach: Why did he double down on visual storytelling?
In his sophomore effort, Terrence Malick took Days of Heaven in a direction that further emphasised visual storytelling over traditional narrative techniques. To understand why Malick decided to push this approach even further, we need to consider the shifting cinematic landscape of the late 1970s and Malick's own artistic vision:
Days of Heaven had a notably challenging production, with Malick's perfectionism leading to an extended shooting schedule and a lengthy post-production process. The film's dialogue was largely scrapped in favour of visual storytelling and voice-over narration, a bold choice that would become a hallmark of Malick's style.
Despite these challenges, Malick's attempt to create a primarily visual narrative was groundbreaking. The film has since undergone significant critical reevaluation, with many now considering it a masterpiece of American cinema.
Malick's Approach to Days of Heaven
Malick's unique approach to Days of Heaven was likely influenced by several factors in the evolving film industry:
- Visual Style: Malick pushed the boundaries of cinematography, working closely with Néstor Almendros to create a look inspired by silent films and painters like Edward Hopper.
- Narrative Experimentation: The film's sparse dialogue and reliance on imagery aligned with growing trends in arthouse cinema that challenged traditional storytelling methods.
- Philosophical Undertones: Malick incorporated themes of nature, love, and morality, adding depth to the narrative and reflecting his background in philosophy.
- Character Dynamics: The focus shifted to exploring complex relationships through visual cues and minimal dialogue, resonating with the growing appetite for nuanced storytelling.
- Auteur Theory: As a rising auteur, Malick likely saw Days of Heaven as an opportunity to further establish his unique voice in cinema.
By doubling down on visual storytelling, Malick was taking a significant artistic risk. However, this risk was calculated against the backdrop of a changing cinematic landscape that was increasingly rewarding innovation and auteur-driven storytelling. While the initial reception of Days of Heaven was mixed, Malick's bold approach has since been recognised as groundbreaking and influential.
Gallery
Days of Heaven Image Stills - Courtesy TMDB
The Characters
At the heart of Days of Heaven, we have a trio of characters whose complex relationships mirror the beauty and harshness of the natural world around them. Let's take a closer look at how these characters fit into Malick's visual poem.
First, there's Bill, played by Richard Gere. He's like a force of nature himself—unpredictable, passionate, and sometimes destructive. Gere brings a raw energy to the role that matches the wildness of the Texas Panhandle setting. You can almost feel the heat and dust radiating off him in every scene.
Then we have Abby, portrayed by Brooke Adams. She's the calm at the centre of the storm, much like the serene wheat fields before a tempest hits. Adams gives Abby a quiet strength that's fascinating to watch. Her character embodies the film's themes of resilience and adaptability in the face of harsh circumstances.
But it's Linda, Bill's young sister played by Linda Manz, who really ties everything together. Her character serves as our eyes and ears, and her matter-of-fact narration provides a counterpoint to the dreamlike visuals. Manz's performance is remarkable—there's a wisdom beyond her years in her observations, yet she maintains a childlike wonder at the world around her.
And we can't forget about the Farmer, played by Sam Shepard. He's like the land itself - stoic, unyielding, yet capable of great tenderness. Shepard brings a quiet dignity to the role that makes the Farmer's eventual fate all the more poignant.
What's really interesting is how these characters interact with their environment. They're often dwarfed by the landscape, reminding us of humanity's small place in the grand scheme of nature. Yet their emotions—love, jealousy, fear—are as vast and powerful as the plains they inhabit.
Malick's direction allows each actor to become part of the film's visual tapestry. Their movements, their silences, and even their breathing seemed to sync with the rhythm of the natural world. It's as if the characters are extensions of the landscape itself, their story as timeless and cyclical as the seasons.
In the end, the genius of Days of Heaven lies in how seamlessly these human elements blend with the natural world, creating a cinematic experience that feels both intensely personal and universally profound.
The Score
The musical score for Days of Heaven was composed by Ennio Morricone, the renowned Italian composer known for his work on films like The Good, the Bad and the Ugly, Once Upon a Time in the West, and later, The Untouchables and The Hateful Eight.
Morricone's score for Days of Heaven is a masterful blend of original compositions and classical adaptations. He weaves in pieces like Saint-Saëns' "Aquarium" from The Carnival of the Animals and Delibes' "Flower Duet" from Lakmé, creating a rich tapestry of sound that perfectly complements the film's visual poetry.
As you watch the movie, you'll notice how the music seems to breathe with the landscape, evoking the vastness of the wheat fields and the changing of the seasons. It's as if Morricone found a way to translate the visual beauty into audio form. But it's not just about pretty sounds - the score digs deeper, tapping into the emotional core of the story.
Listen closely, and you'll hear how the delicate melodies mirror the tensions between the characters, hinting at the love, jealousy, and sense of impending doom that run through the film.
What's really impressive is how seamlessly Morricone's music blends with the natural sounds of the film—the rustling wheat, the chirping insects, the howling wind. It's often hard to tell where nature ends and the score begins.
This becomes especially crucial during the film's many wordless sequences. When the characters fall silent, it's Morricone's score that steps in, guiding us through the emotional landscape of the scene. It's a beautiful example of how music can tell a story all on its own, conveying mood and emotion in a way that words sometimes can't.
Morricone's work on Days of Heaven is considered one of his finest, demonstrating how music can be integral to a film's narrative and emotional landscape, enhancing the visual poetry of Malick's direction and Almendros' cinematography.
Themes and Meaning of Days of Heaven
Nature and Humanity
Days of Heaven explores the relationship between humans and nature, portraying the natural world as both beautiful and indifferent to human struggles. The vast wheat fields and open skies serve as a backdrop to the characters' small dramas, emphasising humanity's place within a larger, uncaring universe.
Key Elements:
- The cyclical nature of seasons mirroring human life
- Locust plague as a symbol of nature's destructive power
- Characters dwarfed by expansive landscapes
Class and Power Dynamics
The film subtly examines class struggles and power imbalances in early 20th-century America. The contrast between the wealthy farmer and the migrant workers highlights the societal inequalities of the time.
Love and Deception
At its core, Days of Heaven is a love story complicated by deception. The film explores the consequences of living a lie and the moral ambiguities that arise from complex human relationships.
Biblical Allusions
Malick incorporates numerous biblical references, particularly to the Book of Genesis. The title itself alludes to Deuteronomy, and themes of paradise lost permeate the narrative.
Cinematography and Visual Style
Days of Heaven is renowned for its stunning cinematography, which earned Néstor Almendros an Academy Award. The film's unique visual look, characterised by its use of natural light and "magic hour" shooting, has become legendary in cinematic circles.
Key Visual Elements:
- Use of natural and available light
- Wide, painterly landscapes
- Attention to period detail in costume and set design
Critical Reception and Legacy
Days of Heaven received mixed reviews upon its initial release in 1978, with some critics praising its visual beauty while others found fault with its sparse narrative. However, over time, the film has undergone a significant critical reevaluation.
Even over 40 years later, the positivity remains...
Key Points:
- Initially polarising reception
- Gradual recognition as a masterpiece of visual storytelling
- Influence on subsequent filmmakers and cinematographers
A Masterpiece is born
Days of Heaven initially received mixed reviews upon its 1978 release, but over time, it has been recognised as a masterpiece of American cinema. This shift in perception is a testament to the film's enduring power and Malick's unique vision.
One of the most striking aspects of Days of Heaven is its visual beauty. As one viewer aptly put it,
"If any movie could be called filmed poetry, this would be it."
Malick and cinematographer Néstor Almendros (who was, remarkably, going blind during production) created a visual feast that continues to captivate audiences decades later. Interestingly, Almendros would view each shot through a Polaroid picture under a high-powered magnifying glass before filming, adding an extra layer of meticulous care to the visual composition.
The film's sparse dialogue and reliance on visual storytelling have been both praised and criticised. Some viewers find this approach pretentious or distancing, while others see it as a strength. As one comment notes,
"By leaving things – often feelings – open to interpretation, the film becomes more intimate."
This open-ended quality allows viewers to bring their own emotions and interpretations to the film, creating a deeply personal viewing experience.
Linda Manz's narration, delivered in her distinctive voice, adds another layer of depth to the film. Her matter-of-fact observations provide a counterpoint to the dreamlike visuals, grounding the story in a child's perspective. This narrative choice has become one of the most memorable aspects of the film, with one viewer calling it,
"likely one of the greatest voiceovers in film history."
The film's production was as unconventional as its final form. Malick reportedly threw out the script after a short time and filmed for nearly a year, allowing the actors to "find the story" as they went along. This approach, while challenging, contributed to the film's unique, dreamlike quality.
Days of Heaven also showcases early performances from Richard Gere, Brooke Adams, and Sam Shepard. While some viewers find the performances understated or even wooden, others see this as a deliberate choice that fits the film's overall tone. As one comment observes,
"Their performances are so understated that you forget they are actors playing characters."
Perhaps one of the most memorable scenes in the film is the locust plague. In a fascinating bit of movie magic, this scene was actually shot in reverse, with the crew throwing peanut shells from a helicopter and the actors walking backwards. This creative solution demonstrates the innovative techniques used to bring Malick's vision to life.
The film's influence on subsequent filmmakers and cinematographers cannot be overstated. Its use of natural light, particularly during the "magic hour" just before sunset, has inspired countless films since. However, this painstaking approach to filming took its toll; Malick was so exhausted after completing Days of Heaven that he retreated to Paris and didn't make another film for 20 years.
2024 4K Restoration and Re-release
In a testament to its enduring legacy, Days of Heaven was given new life in February 2024 with a stunning 4K restoration and theatrical re-release. This meticulous restoration process, overseen by the film's original creative team, including director Terrence Malick, editor Billy Weber, and camera operator John Bailey, brings the film's breathtaking visuals to modern audiences with unprecedented clarity and depth.
The restoration, supported by the prestigious Criterion Collection, Paramount Pictures, and Park Circus, was undertaken with painstaking attention to detail. Working from the original 35mm camera negative, the team has created a version of the film that not only preserves Malick's original vision but enhances it for the 4K era.
Key features of the restoration include:
- A wide colour spectrum that brings new life to the film's famous "magic hour" shots
- High dynamic range (HDR) that enhances the contrast and vibrancy of each frame
- Strong black levels that add depth and richness to the film's darker scenes
- A 5.1 surround DTS-HD Master Audio soundtrack that immerses viewers in Ennio Morricone's haunting score and the film's subtle sound design
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Final Thoughts
In conclusion, while Days of Heaven may not be for everyone, its impact on cinema is undeniable. As one viewer eloquently stated,
"Malick's risk in prioritising visual storytelling over traditional narrative techniques ultimately paid off, cementing Days of Heaven as a landmark film in American cinema."
Whether you see it as a pretentious art piece or a profound cinematic experience, there's no denying that Days of Heaven continues to provoke discussion and admiration nearly half a century after its release.
Our Verdict
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