Hypnotic beauty that draws you in and leads to an emotionally powerful finale

Rating: 10/10 (25 April 2011)

As much as I view all of Terrence Malick's films as masterpieces, this, the 170+ minute version of this film is my favourite. The story, of the arrival of the first British explorers in what is now Jamestown, Virginia , United States is less a history lesson, more another of study of 3 characters' life journeys within a lavishly realised natural environment. These are explorer John Smith, played very effectively in an understated, restrained and compassionate way by Colin Farrell; Settler John Rolfe, played in a similar fashion by a surprisingly gentle and compassionate Christian Bale; and a stunning performance by first time 15 year old actress Q'orianka Kilcher as Pocohontas. The film is closer in style to Badlands and Days of Heaven, in that it follows a specific story focusing on these characters, with Pocahontas forming the crux of the plot. The first part of the film is the development of a relationship between Smith and Pocohontas, evolving to a more complicated, but ultimately stronger relationship between Rolfe and Pocohontas.
Malick again is very flexible with individual scenes, and it is clear that improvisation is still a key aspect of the actors' performances. Malick also was known to mould scenes further in post production and the abstract and minimalist narration seen in Badlands and Days of Heaven is seen again, albeit we hear more characters narrations rather than just the one. The film is closer in structure to first two films than compared to Thin Red Line, which was more a series of vignettes, rather than a story heading towards a clear denouement, as the New World is. However, unlike Badlands or Heaven, this film is more optimistic, and its ending is has a real emotional impact on the viewer. It certainly made me want to see it again, with the ending staying in my head long after the film ended. Like Kubrick, Malick requires the viewer to be patient, and if so they are rewarded with an emotionally involving story between the characters, and a hypnotic creation of atmosphere and environment that draws you in. On Blu-Ray it looks absolutely magnificent.
The film is further assisted with excellent supporting performances, notably from veteran Christopher Plummer as Captain Newport, August Schellenberg as Powhatan and Wes Studi (who always seems to crop up in these sort of films – e.g. Dances with Wolves and Last of the Mohicans) as Opechancanough. The chemistry between Farrell and Kilcher in particular is a real strength of the film. How Malick got such a fantastic performance out of her is a real testament to his skill as a director, but kudos has to also go to Farrell's support for the young actress, as well as a clear talent being brought to the surface from Kilcher herself. While her's and Farrell's scenes are intimate, Malick keeps it seemingly innocent but tactfully and tantalisingly leaves some ambiguity as to whether the relationship is more intimate that what you see on the screen. Malick is too much a class act offer anything gratuitous or obvious, and the film is so much better for it.
The action sequences, while few and far between (it is not what the film is about), when they happen, like The Thin Red Line they are shot with real style and panache, albeit they do feel slightly sanitised in this film. The film further benefits from some real trenchant technical contributions. The most significant is veteran Mexican photographer Emmanuel Lubeski, who makes the film look absolutely magnificent, no doubt assisted by Malick himself and clever use of Steadicam (by veteran operator Jim McConkey). James Horner, like Zimmer in The Thin Red Line, had to write most of the score before the film had finished being edited. As a result the music plays more like a series of suites. However, this approach seems to work well and the music also adds to the mood and emotions in the film very effectively. Some Wagner (Das Rheingold) added to the score also works very well and creates a very effective mood and feel. The editing, led by Hollywood veteran Richard Chew is clearly in the Malick style (lingering shots of characters, and shots of the environment playing a prominent role in setting up a scene, sudden story time-line jumps) and works very well. Kudos to the production design crew led by (Malick veteran) Jack Fisk, which totally convinces you what time period you are in.
Overall this film is a magnificent achievement. A compassionate and emotional involving story beautifully told. Bravo!