The New World (DVD)

...his previous three films of the last twenty years, which are made up of straight-forward stories that are brought to life by the staggering visuals and the complexity behind them. Dialogue doesn't lie at the heart of his films, it's all about what you see, and how it is expressed. The media shy Malick's films, all unique, improve with every new production, broadening in both their scope and beauty, resulting in works of art that, albeit they are ...
...New World sees the director at the height of his talent, arguably bordering on pretentious, but this gem of cinema reaches where so many films dare not strive to go.

Based on the story of Indian princess Pocahontas, the New World sees two completely different cultures collide at a critical time in the world's history; the age of discovery. An expedition of three English ships and a handful of explorers, hit the untouched shores of ... more

Terrence Malick is very much a director whose film-making talent lies in being able to craft his productions into what is simply pure cinema. He's done this before with all his previous three films of the last twenty years, which are made up of straight-forward stories that are brought to life by the staggering visuals and the complexity behind them. Dialogue doesn't lie at the heart of his films, it's all about what you see, and how it is expressed. The media shy Malick's films, all unique, improve with every new production, broadening in both their scope and beauty, resulting in works of art that, albeit they are an acquired taste, are different from any other films. The New World sees the director at the height of his talent, arguably bordering on pretentious, but this gem of cinema reaches where so many films dare not strive to go.

Based on the story of Indian princess Pocahontas, the New World sees two completely different cultures collide at a critical time in the world's history; the age of discovery. An expedition of three English ships and a handful of explorers, hit the untouched shores of Virginia where they build the first English colony. Disgraced soldier, John Smith (Colin Farrell) is left in command of the colony as expedition leader, Captain Newport (Christopher Plummer) returns to England to get fresh supplies. The natives, a powerful and curious tribe, build an uneasy alliance with the mystical newcomers. Smith, however, is taken captive but saved from execution by the intrigued daughter (Q'Orianka Kilcher) of the tribe's chief, Powhatan (August Schellenberg). A romance blossoms between Smith and the princess as she teaches him of the world which is so different from the world on the other side of the ocean. Whilst the New World is a retelling of the epic love story, it is more a biography of Pocahontas herself, and her eventual marriage to humble tobacco farmer John Rolfe (Christian Bale) and their life in England.

The romance that lies at the heart of the New World is an unconventional one. Smith and Pocahontas (the latter is never named as such) are drawn to each other through bewilderment for the other. Pocahontas, who was but a teenager when she met Smith, lets the stranger see the way of life of her people, a way of life which he grows to admire yet cannot understand because of the vast differences between their cultures. Their love is tender and gentle, and the way in which they explore each other is symbollic of the discovery of the untamed, wild New World. And Pocahontas is such. Indeed, Malick refrains from showing their relationship as something sexual; he diverges from even showing a kiss between the two. It's a romance made of forbidden touches treated with such delicacy that the viewer can almost feel it. The film is of a very dreamy essence, emphasised through the setting and the euphoric mood of the characters. The chemistry between Farrell and Kilcher is remarkable, yet so incredibly simple. The vibes between them are strong, and are drawn out even more by the lack of excess dialogue. It is a romance told by expression, especially since neither can speak the other's language. When Rolfe comes into the story, however, the romance is somewhat different. It doesn't hold the intensity of the love between the princess and Smith, but flows along on a more relaxed, gentle wavelength wherein Rolfe and Pocahontas find reassurance in one another which is an aspect of the film that us altogether much more minimalist but ultimately more moving. The New World illustrates a romance never before tried in film, and serves to be one of intrigue and gentle beauty that outdoes any love story, especially those that are sexual, through this wonderfully expressed piece of cinema.

The collide between cultures is magnificently portrayed, as Malick juxtaposes between the cutthroat, foul-mouthed English and the honour-based, harmonious natives. Both are as xenophobic as the other, and the feeling of bewilderment, but ultimately disgust is mutual. The English, who are from the civilised part of the world, are foul of odour and crass in their manners. They have no care for shattering the world of the natives, whom they refer to as "savages". The natives, on the other hand, are more primitive and traditional to their ways, but are plagued by a sense of confusion as to what to do to the strange white men. Both treat the other with an equal amount of naivety and lack of understanding. Soon, the uneasy relations transgress into violence, as the natives try to rid their land of the poison it has been infected with. Malick, as with the romance, does not use graphic content to bring the film to life. The theme is distinctly adult despite being a 12, more so because illusion can be built from the blood-curdling sounds of battle, which intensifies the experience. Nor is battle something the New World indulges in to show conflicts between cultures. Malick is far more subtle than this, taking a much more complex route. A stand out element of the film is after the first act where we find ourselves discovering unexplored Virginia, when Pocahontas returns to England it feels equally surreal. It feels like nature has been tamed and made into something superficial and repressed. There is an abstract beauty about it, but it highlights the wild and Eden-like quality of the Americas.

The cinematography in the film is, as always with Malick, spell bindingly beautiful and is the most dominant visceral feature. It demonstrates how when natural cinematography and setting is well utilised it outdoes the overuse of CGI in every way. Wonderful and bizarre shots of nature are shown, the film tinted with a Homeric feel; swaying grass, rosy-fingered dawns, glass-like water ... even the magnificient attention to detail in period design becomes beautiful. Then, to top it off, James Horner's soft, gradual, powerful score synchronises itself with the scenery and captures the essence of Smith's and Pocahontas' love. The New World is, however, very much an acquired taste as it moves at a slow, ponderous, philosophical pace which can either allow viewers to lose themselves in it, or alternatively find it pretentious and dull. This really is hardcore Malick, telling his story through visuals, and the thoughts of the characters narrated in monotone over the scenes. While it may look like a swashbuckling adventure, it's anything but.

Where the film is very beautiful, the editing is debatably poor. To some extent the shots interjected into the film set a karma, laying out more a dreamy and euphoric mood in how the viewer does not know whether or not the shots are in the past or the present. It's easy to get confused, and again, the viewer may well misunderstand the purpose of the editing. For me, however, the only disappointment came in the last act of the film, when Pocahontas marries John Rolfe and goes to England. Although Christian Bale's performance is possibly the best of the film, and the chemistry between Rolfe and Pocahontas is intriguing to see, the New World loses its initial power at this point. The first act is full of exploration, beauty and superbly built up drama, but the final act falls short of this. There's no denying that it has its moments, which are probably the most moving in the film, but the film winds down and loses its visceral complexity. It follows Pocahontas more directly now, instead of the meandering pace it did before. Indeed, a lot of it feels rushed and many opportunities it presents are played down by its rush to finish. Perhaps it's because after the gripping first act, which leaves the viewer fairly emotionally drained, that the final act feels less powerful. Either way, the final act lacks the strength of the first, and can at times come across as slightly weak as what it is doing is tying up loose ends.

The acting is diverse from the vast majority of films because it is modest and expressionate over the use fo excess dialogue. Every line spoken means something, especially the monologues that voice philosophical reflections. Colin Farrell plays John Smith with a quiet passion, a man ashamed of the people he represents, a man in need of solace. As with the Thin Red Line, Malick uses multiple short cameos from various famous actors, including David Thewlis, Ben Chaplin, John Savage, and Jonathan Pryce amongst others. Indeed, the supporting cast -- Christopher Plummer, August Schellenberg, Wes Studi, Yorick van Wageningen -- give talented but minor performances. The acting lies in the deep, clouded eyes of Farrell, the tender modesty of Bale, and, unforgettably, the spirited, vivacious but quiet Kilcher who is the heart and soul of the film. The teenage actress gives as impressive a turn as any other actress, illustrating a girl who is wise, yet naive and innocent. The New World is undeniably a film that assembles the finest cast in several years, securing Farrell, Bale and Kilcher as three of the most talented young actors in film today. All give unique turns, all of which can be related to, as we lose ourselves with them in the endless, pure land.

The New World is a film that doesn't try to be epic or to garner huge publicity, but it does so by its masterful crafting. Like Malick, the film is media shy, yet it attracts attention because its subtlety, grandeur of scope, and beauty. The film struck me when I watched it, but it really hammered home soon afterwards as it settled. There's a lot to take in, and if appreciated, this film will stay with you for a long time.  

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