, films that introduced a word into the critical lexicon, “whispery,” for their self-parodically poetic voice-overs. Malick’s new film, hailed as a return to form and linear narrative, does not entirely amplify those recitations – they rise a notch above murmur to– but their use of bardic rhetoric remains, as when its soulful protagonist implores his God, “Spirit, lead me, show me.
After Jägerstätter decides that he cannot participate in what he considers an unjust war, he refuses to give to a fund for veterans, to take an oath of allegiance to Hitler and to be conscripted into the Nazi army.
Tarantino obviously is after a different kind of poetry in his fairytale-titled film, which treats Los Angeles much as Jacques Demy did in his underrated– as a kind of fractured topography of wonder, freedom and inevitable disillusion. Tarantino limns the long-time friendship between an alcoholic, failing television actor and his stunt double and factotum , intertwining their tale with that of the star’s next-door real-life neighbours, Roman Polanski and ill-fated Sharon Tate .
The actors are wonderful; the film is not. Tarantino seems to have expended his attention on period recreation, jamming every widescreen frame and his layered soundtrack with as much ultraresearched detail as possible. Movie marquees carry the titles of countless grade-B heist and spy movies; radio and television ads of the time are impeccably resurrected, as are many TV shows; and possibly every top-10 tune from 1969 gets a few moments to induce nostalgia .
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