That question is posed by explorer John Smith (Colin Farrell), in World, Malick’s fourth film in a 32 year career. Smith arrives on the shores of a new start in 1607, ushering in the critical confluence of native and European cultures that painfully birthed what would eventually become a great nation. Smith is determined to make “a fresh beginning where the blessings of earth are bestowed upon all,” and he takes up an Emersonian-style residence with the native Powhatan tribe. Following the familiar myth/fact legend, Smith soon falls in love with the chief’s daughter, Pocahontas (stunningly portrayed by newcomer Q’Orianka Kilcher), and lives a beautiful period of utopian bliss.
The first act of World features a peaceful, “calm before the storm” ambience. We know it is transitory and that something will soon disrupt the balance, but for a time all is well and transcendence is near. The New World fulfills its promise for Smith in the beginning, but soon the reality of war, destitution and man’s ailment (sin) spoils the garden. Paradise is lost, though glimpses of what was, or what could be, are always apparent.
The film's chief tension lies in the love triangle that develops between Pocahontas, Smith and John Rolfe (Christian Bale). When Smith is pulled away from his mythic romance with Pocahontas and called back to England, tobacco-pioneer Rolfe takes over as Pocahontas’ suitor. The two men epitomize different poles of a familiar dynamic—fleeting, reckless joy (Smith) on one hand and more stable, long-term security (Rolfe) on the other. The film's bittersweet resolution to this tension reveals a sort of “living in spite of” theme. Pocahontas might have preferred John Smith to Rolfe, just as she’d probably have opted for a continued life among the Powhatans rather than the Europeans, but she must cope with the circumstances in which she finds herself. She is a metaphor for America: an ever changing, flexible experiment that must adapt to survive, concede setbacks and allow for dissent in order to move forward.
For those unfamiliar with Malick’s films, a bit of warning is in order if you plan to see The New World uninitiated: Do not expect an action-packed adventure. There are compelling battle scenes, but the war in the film is much more ontological than cannon fire. Likewise, do not expect that the film’s focus on Smith and Pocahontas makes it a romantic love story. It is about love, certainly; but also loss, living, strife and hope. And above all, do not enter World with the view that it is chiefly about one pivotal period in the history of a country. It is that, but Terrence Malick is saying something here that transcends any one place, people or historical epoch. The New World is something we all seek.
From the breathtaking opening minutes of the film, an extended montage sequence of sensory crescendo (to the music of Wagner’s Das Rheingold prologue), we know that World is not a conventional film. We do suspect it is a Terrence Malick film, however, and during the next two hours of 65mm nature photography, hushed voiceovers, elliptical editing, jump-cut storytelling, hyper-attentive sound and scarcely little dialogue, we become convinced of this fact.
Recently the reclusive Malick came out of hiding and broke a decades-long silence of commenting on his movies. He made a rare appearance at a December 26 screening of World in his (rumored) hometown of Bartlesville, Oklahoma, and actually fielded a few questions. The artist suggested to the audience that the best way to view his film was to “just get into it; let it roll over you. It's more of an experience film. I leave you to fend for yourself.” And I echo that completely. Let the film wash over you like a piece of music in headphones—get immersed, open your eyes and ears and you will find The New World revelatory.
The film cannot be read like a book. It is not as black and white as your average American history lesson. Malick understands that America is more complex than that; that existence is more than one nation’s mythology; that any “New World” is not an end to the journey. The Virginian shore was just the beginning for Smith and the other early settlers. The New World is, as Malick told the Bartlesville audience, above all a story of hope: “Maybe the true shore is still yet to be discovered.”
Note: This review refers to the 149 minute Academy version of the film that was screened for critics in December. The version hitting theaters on 1/20 is a refined cut by Malick and is reportedly about 15 minutes shorter.
