On the surface, A Hidden Life is a return to form for Terrence Malick after his oddly prolific period during which he appeared to have made twenty-seven experimental films starring Christian Bale in Texas.
The structure of the film is built like a visit to a cathedral and attending one very long mass: the tone reverent, the pacing like a pilgrimage, the cinematography of the Austrian mountains breathtaking, and the music heavenly.
It tells the simple tale of one farmer’s moral objection to fighting in WWII and refusal to pledge loyalty to Hitler, and it has all of the philosophical and religious pondering one would expect from Malick.
But I had two major objections of my own to Malick’s latest.
POTENTIAL SPOILERS AHEAD
First, in being everything you would expect from a Malick film, there is no sense of surprise or delight to be found. I could’ve predicted every single framing of beautiful imagery and light. And at nearly three-hours long, the artistic images and music are on what seems like an endless loop with no end in sight. There’s no sense of the that cosmic chaos and fluidity that made The Tree of Life a masterpiece, or any of that earthy yet otherworldly novelty that made The New World astound the senses. The narrative also falls victim to some of the most grueling clichés of both rustic cinema verité (oh look, a pig being slaughtered and an innocent little girl observing the carnage) and “false imprisonment” films where the main character is always transferred to progressively worse institutions.
Secondly, and perhaps more damning, I couldn’t relate to the Christian concept of martyrdom. I understood the farmer’s original and courageous objections to war and Hitler’s worldview. There comes a point in time after he has already suffered (and made his point) where he was given a practical and sensible way out that would’ve spared his life and brought him back to his wife and daughters who so desperately needed him. Yet he staunchly refuses on principle. So he dies, leaving his family to suffer in his absence, and is executed as a traitor…and for what? The idea of dying for your beliefs (or in defiance of the evil beliefs of others) is just as senseless in my mind as the ones on the opposite end of the spectrum who are willing to kill to uphold the evil ideas of people like Hitler. Both extremes are willing to die in rebellion against the natural will to survive. Isn’t this perhaps the same brand of insanity?
Even Malick seems to concede that this is the central conundrum: one can nobly die for any cause…but when it doesn’t change the course of events and only causes your loved ones’ suffering, what was it all for? The farmer’s wife muses that one day (in the end), all that is unknown will be known. We’ll finally understand what it was all for. I’m all for mysteries, but that’s just a blind faith, and it’s that kind of blind faith that leads people down the extreme paths to play both the sinner and the saint, willing to die.
What kind of world would it be if we were all martyrs?
With summer winding down, Hollywood is gearing up for their prestige film season. And with a one-year-old at home it has become increasingly difficult to get out to a movie theater, so this new trend started by Netflix to stream Oscar bait couldn’t have come at a better time for me. My thirty-year-old cinematic purist self would’ve screamed, “You’re tarnishing the purity of the experience!” but my almost forty-year-old self is like, “Let’s stream everything! Who’s got time to go to a theater?”
Here are my most anticipated films of the 2019 Fall Movie season:
The Irishman – Oh thank heaven for Netflix! I don’t think I could find the time to escape to a theater for over three hours, and I’ll likely have to watch this one in chunks. Scorsese, DeNiro, Pacino, Pesci all in their element and Anna Paquin primed for a mid-career revival. I have high, high, hopes for this one.
Marriage Story– the buzz on this one is strong, and the trailers have been excellent. Noah Baumbach is long overdue for a big popular breakthrough as his films have always been niche, and Adam Driver and Scarlett Johansson look to be at the top of their game. This has the feel of Kramer vs. Kramer by way of Woody Allen if he had a millienial’s EQ. Again, thank heaven for Netflix, as I would otherwise not likely be able to get out to this one and its domestic drama looks well suited to emmerse yourself in at home.
1917– Sam Mendes looks to do for WWI here what Christopher Nolan did for WWII in Dunkirk. This looks like an immaculately shot, edited and staged piece of tick-tock wartime suspense with some big emotional payoff. This has Oscars written all over it, and will probably worth the trip to the theater for the experience.
A Hidden Life – Terrence Malick is back, and this three-hour biopic looks to be more like The New World in style than his more recent contemporary endeavors. The buzz on this is his best in years…but it’s still three hours long, and man, do I wish this was streaming, though arguably you’d want to see these images on the biggest screen possible.
Ad Astra – Of all the film’s on the list this one I am most skeptical about. Could it be an Interstellar style masterpiece, or a boring chore? James Gray is one of the best directors yet to make a great film. Brad Pitt is the star power. It’s nice to see Ruth Negga is also onboard, but the rest of the cast all seem a bit tired: Donald Sutherland, Tommy Lee Jones, and Liv Tyler. The trailers have been hit or miss, but there’s still tons of promise here.