Terrence Malick, divine director
In "To the Wonder," the reclusive auteur proves he's the most spiritual filmmaker working today
Topics: Religion Dispatches, Terrence Malick, To the Wonder, Movies, Religion, faith, Social News, Life News, Entertainment News
“Show, don’t tell,” is common advice to screenwriters and fiction writers. In contrast to primarily non-fictioners like yours truly, those who compose films and novels and stories are rightly encouraged to avoid didacticism, to let the story speak for itself, never to make the meanings and morals too obvious.
Terrence Malick’s typically beautiful new film, To the Wonder, does exactly that, yet its depiction of the divine love/human love parallel is so elliptical as to flirt with inscrutability.
To be sure, Malick’s screenplay does telegraph the main theme of the work explicitly, usually in voiceovers (there are a lot of voiceovers) by a doubt-ridden priest played by Javier Bardem. Bardem’s priest wonders why we fall in and out of love with God, as we watch a couple played by Ben Affleck and Olga Kurylenko fall in and out of love with each other. If the parallelism were not clear enough, Bardem’s priest—played with brilliant understatement by an actor who often goes for the jugular—tells us how human love can serve as a gateway to divine love. Which (metaphysical spoiler alert) is roughly the final resolution of the film.
But it was no coincidence that the hipsters and film geeks lingered outside the Landmark Sunshine Theater, talking about what it all meant. This is a film that announces its theme, but then develops it not in a linear way, but through visual poetry, allusion, and metaphor. In this way, it is yet another of Malick’s brilliant evocations of the spiritual life. And perhaps a frustrating piece of art.
If you like, you can read To the Wonder as entirely allegorical, á la Life of Pi. Neil and Marina fall in love at Mont St. Michel in France, a revelatory moment akin to God’s covenant at Sinai. They live for a short time in paradise, but then exile themselves to a very contemporary Oklahoma: a land not of prairies and cowboys, but of pollution and strip malls. For a while, they stay in love, but the passion cools, and they begin to fight. They separate, Neil starts another relationship, they come back together, they fight again. And all the while, Javier Bardem wonders aloud why it is that God hides himself, why what is sometimes so passionate an embrace can grow so cold.







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