Is it merely a coincidence that the greatest cinematic work of art to appear in America in 2005 would be shown in the very back of only one theater in the entire city?
Or that a large percentage of the audience spent the entire film either sighing, sleeping or just walking out? It's as if audiences are screaming loudly, "Give us thrills! Give us action! But, by God, don't give us beauty!"
The rare occurrence of such a film as Terrence Malick's "The New World" is proof enough that these shrill and misguided voices are being heard quite clearly. But for those who prefer the quiet, meditative, subtle and poetic, this is it.
Malick is not concerned with recreating actual history, although no attempts to sensationalize are made. He instead sets out to capture a moment long lost in time - the moment where the "New" World actually was new and the wonder as to the possibilities that lie ahead infinite.
The film opens in 1607 as Jamestown is established and John Smith (Colin Farrell) encounters Pocahontas (Q'Orianka Kilcher). Malick explores not only their relationship, but also the one between the British settlers and the Native Americans. Fortunately, he doesn't present either in the stereotypical fashion with neither the Native Americans as savages nor the settlers as land-hungry monsters.
In a year of highly political films, this film is sharply not - but for good reason. The reason is this: Malick has captured the essence of an idea that we refer to as distinctly American - that the frontier is always open to those who are determined and work hard.
Isn't that what is still commonly called the "American Dream?"
Who doesn't think he or she can better one's self or become successful in America?
Essentially, "The New World" is a silent film, with sparse dialogue that could have just as easily been put on title cards. Many of the sounds we do hear are environmental such as the wind rustling through tall grasses and trees or the sound of rain on water.
Malick moves the narrative steadily along visually, often with the help of a brilliant score by James Horner. For example, the first meeting between the British and the Native Americans involves no dialogue, but merely a visible sense of fright and awe on the faces of both parties.
Also, the relation between Smith and Pocahontas isn't portrayed as the typical romance with two lovers meeting and being overcome with their passion.
Farrell does an amazing job at physically showing the sense of hesitancy, fear and care that he feels at encountering such beauty in a strange world.
Kilcher's Pocahontas is a representation of the uncharted and pristine land and soul of what would become America. The freedom of her spirit and the mystery of her beauty are not only what enrapture Smith, but what symbolize our deep connection to the land and ideals we love.
"The New World" gives us an anthropological study of the American psyche, re-establishing and re-affirming our connection with the initial spark of wonder that was, and is, of so great a consequence.
