Terrence Malick’s films are like dance pieces. His characters don’t stand still — they glide, they twirl, they run. His camera never rests, either. And the center of his films isn’t story, or dialogue, or character. It’s a spiritual theme — a question — examined through motion and music.
Malick’s game of musical chairs began with “Badlands,” the director’s first and most conventional film. The outlaws-on-the-run drama, starring Martin Sheen and Sissy Spacek, had an underscore by George Tipton and some tunes by James Taylor, but the main thrust was a recurring use of Carl Orff’s childlike piece for xylophone, “Gassenhauer.
Then Malick famously took a 20-year sabbatical. When he returned to make “The Thin Red Line,” he did so with a mature evolution of his aesthetic. Unorthodox as it was, the film inspired Zimmer to write one of his most mature, minimalistic scores to date — a meditative lament that set the film’s dirge-like mood and rhythm.
But the director’s use of the prelude to “Das Rheingold” in that film is one of his many brilliant employments of the classical repertoire, argued Ross. Wagner’s opera begins with the beginning of the world, pure and untouched by human power and strife. “What you’re watching in ‘The Tree of Life’ is Terry’s life,” said Weber. “That’s the first time he ever allowed anything, in any movie he’d ever done, that had any inkling of himself in it, and so it meant so much to him. It was really so personal.”
ScoreThePodcast SPOILER : I wanted to see the reality of his death. A POV shot of him being led to the guillotine and his head placed underneath the blade, and cutting to immersive darkness - or light, for that matter - would have spoken volumes. As it was, it was akin to 'No Country of Old Men'
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