Colin Farrell, Christopher Plummer, Christian Bale, August Schellenberg, Wes Studi, David Thewlis, Yorick van Wageningen, Q'orianka Kilcher, Will Wallace
25th Dec 2005
27th Jan 2006
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"The New World" is an epic adventure set amid the encounter of European and Native American cultures during the founding of the Jamestown Settlement in 1607. Inspired by the legend of John Smith (Farrell) and Pocahontas, acclaimed filmmaker Terrence Malick transforms this classic story into a sweeping exploration of love, loss and discovery, both a celebration and an elegy of the America that was…and the America that was yet to come. Against a historically accurate Virginia backdrop, Malick has set a dramatized tale of two strong-willed characters-a passionate and noble young native woman and an ambitious soldier of fortune-torn between the undeniable requirements of their civic duty and the inescapable demands of the human heart.
This film plays like a sumptuous, contemplative poem about the state of the earth. The lack of sharply defined plot or characters will probably annoy mainstream filmgoers, but anyone looking for a thing of beauty will adore this.
It's based on historical records from the first British settlers in Virginia in 1607 about their standoff with Powhatan natives. John Smith (Farrell) breaks the stalemate, going to live with the tribe, getting to know the chief (Schellenberg) and falling for his daughter Pocahontas (Kilcher). But the Europeans still don't trust the "naturals"--or each other. Eventually, John Rolfe (Bale) discovers a way to profit from tobacco, and he also discovers Pocahontas.
Malick plays down the plot to concentrate on the collision between Europeans and native Americans, and the resulting creation of a new world. All character interaction plays into this theme, as does Emmanuel Lubezki's lush cinematography, which lingers on water, trees, grass and clouds as if they're telling us something. Indeed they are: the balance has been tipped.
In this filmmaking style, performances seem somewhat superficial, but the cast add depth through glances and internalised emotion. Dialog is limited to short bursts of conversation (sometimes in unsubtitled Algonquin), with frequent voice over that adds to the dreamily poetic tone. Farrell is good in a difficult role, Bale augments his character with moments of jarring insight, and Kilcher is a true discovery--engaging, earthy and powerfully emotional. Everyone else is fine, although most roles are essentially cameos.
This film is work of art, not a traditional narrative feature. Malick is exploring the clash between nature and civilisation, the way the earth destroys and regenerates, the wonders of discovery and the mysteries of love. It's an ambitious project, but he captures images and sounds (including a magnificent score) with insight and a lasting resonance. Sure, the Powhatan society couldn't have this idyllic ("Why do you want gold? Do you eat it?"). But when Pocahontas discovers the purity and balance in carefully manicured England, you'll believe that maybe she can indeed paint with all the colours of the wind.
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