Heat (1995 film)

 

Written and directed by Michael Mann, Heat is the story of a conflict between a LAPD police detective and a career thief as they both deal with their own personal and professional issues with a heist set to take place. Based on a 1989 TV movie directed by Mann called L.A. Takedown, the film is an exploration of two men from different sides of the law as they’re about to embark on a major battle but are also being aware that they’re both approaching the end. Starring Al Pacino, Robert de Niro, Val Kilmer, Tom Sizemore, Diane Venora, Amy Brenneman, Ashley Judd, Mykelti Williamson, Wes Studi, Ted Levine, Natalie Portman, Dennis Haysbert, William Fichtner, Danny Trejo, Tom Noonan, Henry Rollins, and Jon Voight. Heat is a riveting yet exhilarating film from Michael Mann.

The film is about a cat-and-mouse chase between a LAPD police detective and a career thief with a loyal heist crew who take part in a major heist following another theft that involved bonds belonging to a money-laundering insurance owner. It is a film that explore two men who only know what to do as they’re set to collide but there is a mutual respect in the fact that they’re men who both have a code and know what to do if they meet face-to-face. Michael Mann’s screenplay is largely straightforward in its narrative yet it is more about the men involved in this cat-and-mouse game where the LAPD detective in Lieutenant Vincent Hanna (Al Pacino) and the criminal Neil McCauley (Robert de Niro) are trying to outwit one another but they’re also dealing with issues outside of their line of work with Hanna’s third marriage to Justine (Diane Venora) is crumbling as her daughter Lauren (Natalie Portman) is becoming emotionally-unstable. McCauley is just trying to do more work as it is all he knows while he meets and falls for a graphic designer in Eady (Amy Brenneman).

The film isn’t just about Hannah and McCauley dealing with each other and their own lives but the film also showcase that McCauley’s right-hand man in Chris Shiherlis (Val Kilmer) is going through issues with his wife Charlene (Ashley Judd) who is having an affair with a businessman in Alan Marciano (Hank Azaria). The script also play into the fact that McCauley, Shiherlis, Michael Cheritto (Tom Sizemore), and Trejo (Danny Trejo) are a crew who pride themselves in being professional and not kill anyone unless they have to as they bring in a wildcard in Waingro (Kevin Gage) who ends up becoming problematic as McCauley tries to kill him only for him to escape as he would end up being a problem for everyone including Hanna as it relates to the murders and raping of young women. Waingro would also play a role in the film’s second act as it relates to the bonds that McCauley and his crew stole as it belonged to the rich insurance salesman Roger Van Zant (William Fichtner). Mann doesn’t really create any heroes and villains but rather people are complicated with Van Zant and Waingro being the real villains in the film as they’re immoral and don’t care for anyone but themselves.

Mann’s direction definitely has an air of style in the presentation as it is shot on location in and around Los Angeles as the city itself is a character in the film. Mann uses these locations to not just play into the world that McCauley wants despite its lack of fulfillment but also a world that is simple as McCauley’s crew are diverse as it would later include a former prison-mate of his in Don Breedan (Dennis Haysbert) as they also have a simple life. There are wide and medium shots to play into the scope of the locations as well as banks, hotel rooms, and other places as there is a lot of attention to detail in these rooms and places that Mann is filming as it adds to the large scope of the film. Notably in a scene where Hanna and his team are at a docking area where McCauley and his team are having a conversation as Hanna and his team go to that location where Hanna realizes what is going on. It adds to this air of intrigue and suspense that occurs throughout the film that includes this meeting between McCauley and Hanna at a diner.

It’s a scene in the middle of the film in this meeting of the two men where it serves as a meeting of the minds before these two men go to war as it is clear through its close-ups and simple reverse shots as these are just two complicated men who could be friends in another world and have a lot of similarities but are on opposite sides of the law. The heist sequence that comes in late in the second act is an intense moment where there is a lot of quick shots that play into the frenetic energy as there is a lot at stake including lives where McCauley and his crew don’t want to kill anyone but they’re pinned down. The third act isn’t just about who ratted McCauley out but also Hanna wanting to find out who snitched to them as well yet both men and Shiherlis would deal their own personal issues. There is also a lot of drama that Mann explore where it is clear that McCauley and Hanna are men of certain extremes but at least are honest to admit with the latter having to realize what he means to his family despite not being there as much. The climatic showdown of the two is one that is filled with an immense visual style in its scope but it also owes a lot to the western. Overall, Mann crafts a ravishing yet gripping film about a LAPD detective and a career-criminal going head-to-head in an upcoming heist.

Cinematographer Dante Spinotti does incredible work with the film’s cinematography with its usage of low-key lights and bluish colors for some of scenes in the day and night as well as using available light in some scenes to enhance some of the drama. Editors Don Hoenig, Pasquale Buba, William Goldenberg, and Tom Rolf do amazing work with the editing with its usage of jump-cuts, fast-cuts, and other stylish cuts to play into the suspense and drama including the heist sequence. Production designer Neil Spisak, with set decorator Anne H. Ahrens and art director Margie Stone McShirley, does excellent work with the look of the homes that some of the characters live in as well as the offices that Hanna and his team work at and some of the diners that the characters go to. Costume designer Deborah Lynn Scott does fantastic work with the costumes from some of the stylish and posh clothing that both Charlene and Justine wear to the more casual and looser look of Eady with a lot of the suits that the men wear.

Makeup artist John Caglione Jr. and hair stylist Vera Mitchell, with tattoo designer Ken Diaz, do terrific work with the look of a few characters from the long-haired look of Shiherlis as well as the tattoos of Trejo. Visual effects supervisor Neil Krepela does nice work with some of the film’s minimal visual effects such as a scene of McCauley and Eady looking at the L.A. skyline at night. Sound editors Per Hallberg and Larry Kemp, along with sound designer Peter Michael Sullivan, do superb work with the sound as it play into the atmosphere of the locations as well as how guns sound when they fire as it is a highlight of the film. The film’s music by Elliot Goldenthal is wonderful for its somber yet moody score that mixes orchestral bits with some ambient electronic pieces while music supervisor Budd Carr creates a hypnotic soundtrack that features pieces by Moby, Einsturzende Neubauten, Terje Rypal & the Chasers, the Kronos Quartet, the Passengers (U2 & Brian Eno), B.B. King, and Lisa Gerrard.

The casting by Bonnie Timmerman is marvelous as it feature some notable small roles and appearances from Bud Cort as a diner owner that Breedan works for, Farrah Forke as a news reporter, Hazelle Goodman as a dead prostitute’s mother, Paul Herman as a police sergeant, Jeremy Piven as a surgeon, the trio of Rick Avery, Bill McIntosh, and Thomas Rosales Jr. as armored truck guards, Patricia Healy as Bosko’s date, Cindy Katz as a forensics investigator, Xander Berkeley as a friend of Justine named Ralph, Tom Noonan as a former criminal/guide in Kelso, Tone Loc and Ricky Harris as a couple of informant brothers who talk to Hanna about the word on the street, Jerry Trimble as one of Hanna’s detectives in Danny Schwartz, Henry Rollins as Van Zant’s assistant, Kim Statton as Breedan’s wife, Susan Traylor as Cherrito’s wife, Yvonne Zima as a young girl Cherrito reluctantly takes hostage, and Hank Azaria as Charlene’s lover Alan Marciano who is also involved in his own criminal activities until Hanna uses him as bait.

The performances of Ted Levine, Wes Studi, and Mykelti T. Williamson in their respective roles as Detective Mike Bosko, Lieutenant Sammy Casals, and Sergeant Bobby Drucker are terrific as members of Hanna’s team who all provide some insight into their mission with Sgt. Drucker being the one who deals with Charlene while not taking shit from Marciano. Natalie Portman is wonderful in her small role as Justine’s troubled teenage daughter Lauren who is dealing with an absentee father and other mental issues that raises concern from Hanna. Dennis Haysbert is superb as Don Breedan as a former prison mate of McCauley who is not happy with his parole assignment until he meets McCauley and agrees to help him while Danny Trejo is fantastic as McCauley’s friend Trejo who often serves as the driver in the heists until he is tailed by the police. Kevin Gage and William Fichtner are excellent in their respective villainous roles as Waingro and Roger Van Zant with the former being this deviant wildcard who has no remorse in who he kills while the latter is just a greedy insurance salesman who only cares about money and control.

The trio of Amy Brenneman, Ashley Judd, and Diane Venora are brilliant in their respective roles as Eady, Charlene Shiherlis, and Justine Hanna as the women in the lives of these three men with Brenneman providing a sense of warmth and hope to McCauley while Judd serves as a frustrated wife who is upset over her husband’s gambling issues and Venora as Hanna’s wife who is often upset by his frequent absences and her troubled daughter. Tom Sizemore and Jon Voight are amazing in their respective roles as the thief Michael Cherrito and the fence Nate with the former being someone who is eager for one more score while the latter helps McCauley in finding new jobs but is aware that something about Van Zant isn’t right. Val Kilmer is incredible as Chris Shiherlis as McCauley’s right-hand man who is a great marksman but also has gambling issues and feels like he’s not good enough for his wife and kid where he deals with the dangers of his work and being caught.

Finally, there’s Al Pacino and Robert de Niro in tremendous performances in their respective roles as Lieutenant Vincent Hanna and Neil McCauley. Pacino’s performance is a bit reserved while he also has some wild moments in a scene where he confronts Marciano as there are also moments where he is sensitive and does what he can to be helpful. The performance from de Niro is also low-key as someone who is meticulous in what he wants to do as he is also a man with a code while is eager to have a life outside of crime. Pacino and de Niro’s few scenes together are a joy to watch where it is two men displaying a mastery in their craft as these two extremes who have a lot of similarity but also know they have a code to live by.

Heat is a magnificent film from Michael Mann. Featuring a phenomenal ensemble cast, rapturous visuals, gripping action sequences, fascinating studies of characters and ideals, and an intoxicating music score. The film is definitely a crime drama that diverts the idea of heroes and villains in favor of studying morals as well as what two men would to maintain their own ideals. In the end, Heat is an outstanding film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief (1981 film) - The Keep – Manhunter - L.A. Takedown – The Last of the Mohicans - The Insider – Ali - Collateral - Miami Vice - Public Enemies - Blackhat - Blackhat - Ferrari – (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2021

The Last of the Mohicans (1992 film)

Based on the novel by James Fenimore Cooper and the 1936 film by George B. Seitz and screenwriter Philip Dunne, The Last of the Mohicans is the story of two sisters who are accompanied by a major during the French and Indian War where they’re saved by a white Mohican warrior who accompanies them to a fort where their father is stationed at. Directed by Michael Mann and screenplay by Mann and Christopher Crowe from an adaptation by John L. Balderston, Paul Perez, and Daniel Moore, the film is a thrilling adventure film set during the French and Indian War in the Adirondack Mountains in the then-British colony of New York where a man tries to help two sisters reach their father while dealing with all sorts of foes. Starring Daniel Day-Lewis, Madeleine Stowe, Jodhi May, Russell Means, Wes Studi, Eric Schweig, and Steven Waddington. The Last of the Mohicans is an exhilarating and gripping film from Michael Mann.

It’s 1757 during the French and Indian War between the British and American colonials against the French and various Native American factions where a trio of Native Americans save a major and two women following an ambush by Huron warriors on their way to a fort that is the home of the women’s officer father. It’s a film that play into three men who live a life of peace and generosity as they decide to help these two women to be with their father yet things would get complicated once they arrive at their destination during this conflict that is happening. The film’s screenplay by Michael Mann and Christopher Crowe that was also based on Philip Dunne’s screenplay for the 1936 film by George B. Seitz does play into the world that its protagonist Nathaniel Poe/Hawkeye (Daniel Day-Lewis) lives in with his adopted father Chingachgook and adopted brother Uncas (Eric Schweig) as they live to hunt and be good company to other colonial settlers.

The first act is largely about Major Duncan Heyward (Steven Waddington) wanting to accompany his lover Cora Munro (Madeleine Stowe) and her younger sister Alice (Jodhi May) as their father Colonel Edmund Munro (Maurice Roeves) who is stationed at Fort William Henry. Major Heyward and his entourage is accompanied by the Huron warrior Magua (Wes Studi) unaware that he’s leading them an ambush by his own tribe as he has a hatred towards Colonel Munro over events from the past that related to his family. It would be Hawkeye and his family that would save the Munro sisters and Major Heyward where Cora isn’t sure about trusting Hawkeye yet realizes what is at stake. The film’s second act that takes place at Fort William Henry during a battle with the French army led by General Louis-Joseph de Montcalm (Patrice Chereau) where the Munro sisters learn that from their father that they weren’t supposed to come.

The screenplay wouldn’t just play into this developing relationship between Hawkeye and Cora but also revelations that would plant the seeds of what is to come in this shaky alliance between the British forces and the colonial militia. After witnessing what happened to a family that Hawkeye and his family knew and Colonel Munro’s dismissal over the incidents due to lack of evidence. Cora realizes that even someone like her father is more concerned with maintaining his position rather than have the militia return to defend their home and families. The film’s third act which has everyone leaving the fort is about survival as well as the ideas of war where one group of people want to do what is honorable but another has personal reasons to wage war.

Mann’s direction is definitely astonishing in terms of its visual presentation and intense approach to action. Shot on location largely on the Blue Ridge Mountains of North Carolina as well as various locations in the state as upstate New York and the Adirondack Mountains. Mann would use the locations as characters in the film as it play into a world that is peaceful only to be ravaged by war as it opens with Hawkeye and his family hunting and bringing food to eat and share with a family. The simplicity in Mann’s direction is key to the relationship Hawkeye would have with Cora later in the film with its usage of close-ups and medium shots as well as the brief moments between Alice and Uncas with the latter being protective of her from danger. The usage of hand-held cameras would play into the action as well as Hawkeye and his entourage trying to get to the fort and later hide from Magua and his tribe.

Mann’s usage of the wide shots would play into the scope of the battle scenes as well as the attention to detail of the French digging trenches and getting closer to the fort as well as the distance of cannons firing toward their target. Mann’s usage of tracking and dolly shots add to the detail of the landscape and chaos of war while he would also aim for precise compositions to play into the suspense as it relates to Magua ambushing the British army. Mann knows when to break from the action and suspense as its climax where Hawkeye meets with the Huron sachem Ongewasgone (Dennis Banks) in a plea for peace and mercy despite Magua’s need for revenge. Mann would know when to keep things engaging but also play into the drama. Overall, Mann crafts a riveting and adventurous film about a white Mohican who help two British women and officer find safety during the French and Indian War.

Cinematographer Dante Spinotti does phenomenal work with the film’s cinematography with its natural approach to lighting for many of the daytime exterior scenes as well as some scenes at night including one beautiful scene in a cave with the waterfalls and the usage of fire as it is a major highlight of the film. Editors Dov Hoenig and Arthur Schmidt do brilliant work with the editing as it has elements of style with its usage of slow-motion and rhythmic cuts as well as some other stylistic moments that play into the action, suspense, and drama. Production designer Wolf Kroeger, with set decorators Jim Erickson and James V. Kent plus art directors Robert Guerra and Richard Holland, does excellent work with the look of the homes of some of the characters as well as the interior of the fort and tents as well as the design of the Huron tribe camp. Costume designer Elsa Zamparelli does fantastic work with the costumes from the rugged look of Hawkeye and his family as well as the militia to the period dresses that Cora and Alice wear as well as the uniforms of the soldiers and officers from both the French and British.

Special makeup effects/prosthetics designer Vincent J. Guastini does amazing work with the look of the Huron tribe through its makeup as well as their Mohawks and other hairstyles of the times. Sound designer Lon E. Bender does superb work with the sound in capturing the atmosphere of the locations as well as the sounds of guns and cannons that help play into the action and its impact. The film’s music by Trevor Jones and Randy Edelman is incredible for its bombastic music score with its usage of heavy percussions, woodwind arrangements, and other instruments that play into the drama and suspense while music supervisor David Kershenbaum would use a traditional Scottish piece performed by Dougie MacLean as one of the film’s music themes along with a piece performed by Clannad as it’s a highlight of the film.

The casting by Bonnie Timmerman is wonderful as it feature some notable small roles from Jared Harris as British lieutenant early in the film talking with militia, Colm Meaney as an officer in Major Ambrose, Pete Postlethwaite as one of Colonel Munro’s officer in Captain Beams, Dennis Banks as the Huron sachem Ongewasgone, Tracey Ellis and Terry Kinney as a couple in the Camerons that Hawkeye and his family are friends with, and Patrice Cheraeau in a terrific performance as General Louis-Joseph de Montcalm as the French general who is a man of principle as he is also someone that cares about the rules of engagement and humanity as he tries to get Magua to honor these ideas of war.

Maurice Roeves is superb as Colonel Edmund Munro as a British officer who is the father of Cora and Alice as he is dealing with being trapped as well as trying to maintain his position only to be indifferent towards the situations that colonial militia are dealing with. Steven Waddington is fantastic as Major Duncan Heyward as an officer who is hoping to marry Cora as a man trying to protect them as well as maintain his own position in rank while dealing with the chaos of the ambush from the Huron. Russell Means and Eric Schweig are brilliant in their respective roles as the father-son duo of Chingachgook and Uncas as two Mohican warriors who are family to Hawkeye as they help the Munro sisters find safety with the former being a master warrior while the latter becomes a source of comfort for Alice. Jodhi May is excellent as Alice Munro as Cora’s younger sister who is dealing with the ambush and terror of war where she befriends Uncas whom she becomes close to.

Wes Studi is amazing as Magua as a Huron warrior who harbors deep hatred towards Colonel Munro as he is revealed to be a double-agent for the French where he is hoping to get his revenge and bring honor back to his tribe. Madeleine Stowe is incredible as Cora Munro as a woman who deals with the ambush and situation that she and her sister are encountering while getting an understanding about Hawkeye and what she sees as she would gain a completely different perspective from what her father sees about what is really happening in the war. Finally, there’s Daniel Day-Lewis in a phenomenal performance as Nathaniel Poe/Hawkeye as a white man raised by the Mohicans since he was a boy as he is someone that knows what is happening as he is doing what he can to protect the Munro sisters while falling for Cora as it’s a charismatic and thrilling performance from Day-Lewis who proves he can be tough and heroic.

The Last of the Mohicans is a tremendous film from Michael Mann that features a great performance from Daniel Day-Lewis. Along with its ensemble cast, Dante Spinotti’s gorgeous cinematography, its immense music score, beautiful locations, and themes of war and honor. It’s a film that play into a group of people caught up in a deadly conflict as well as see things that would complicate the ideas of war forcing them to survive and evade the horrors of war. In the end, The Last of the Mohicans is a magnificent film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief - The Keep – Manhunter – L.A. Takedown – Heat – The Insider – Ali – Collateral – Miami Vice – Public Enemies (2009 film) – Blackhat - Blackhat - Ferrari - (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2019

The New World

Originally Written & Posted at Epinions.com on 1/21/06 of the 135-minute cut with some minor edits.

The story of Pocahontas has been told in many forms including a Disney animated version in 1995 about the young Indian heroine who befriended colonists in 1608 in Virginia including John Smith whose life she saved. The story is often told in a simple way and would often ignore Pocahontas' life after saving and befriending Smith as she later married aristocrat John Rolfe in 1614 as she settles into a simpler life while bringing peace between Indians and the English. Now, there's a new story that is much broader and more observant about the life of Pocahontas but it's more about the arrival of English colonists arriving to the area of Jamestown, Virginia and the aftermath. This time however, this story of Pocahontas is from the viewpoint from one of American cinema's most poetic and enigmatic visionaries in Terrence Malick for The New World.

Written and directed by Terrence Malick with a script he wrote in the mid-70s, The New World is a story about John Smith and English settlers arriving into Jamestown where Smith meets Pocahontas as the two explore each others culture that would lead to tension as Pocahontas would later meet John Rolfe. Shot on location in Jamestown, Malick goes for the same, poetic narrative approach to his earlier films for an observant and more enchanting tale of how the world changed through the eyes of a young girl. Starring Colin Farrell, Christian Bale, Christopher Plummer, Wes Studi, August Schellenberg, Irene Bedard, Raoul Trujillo, Jesse Borrego, Jonathan Pryce, David Thewlis, Noah Taylor, Ben Chaplin, John Savage, Brian F. O'Byrne, and introducing Q'Orianka Kilcher as Pocahontas.  The New World is a haunting yet lush film from Terrence Malick and company.

It's 1608 Virginia as three ships arrive onto the unknown land led by Captain Newport (Christopher Plummer) where joining him is another captain, Wingfield (David Thewlis). Imprisoned inside the ship for mutinous remarks is John Smith (Colin Farrell) as Newport sets him free so he can join the exhibition of the land. During their reconnaissance, Newport and his crew meet up with a group of natives led by Tomococo (Raoul Trujillo) as their first meetings is slow. Then when Newport leaves for England, Wingfield takes over while Smith becomes second-in-command to take on the exhibition. Immediately, mis-communication and misunderstandings lead to trouble as Smith along with two captured natives and crew members including Jehu Robinson (Ben Chaplin) are to explore the regions and rivers of Virginia to find the tribe's chief. After a native escapes, Smith takes on his exploration where he is captured by a band of natives led by Opechancanough (Wes Studi).

Opechancanough takes Smith to his tribe where he awaits answers from his brother and tribe chief Powhatan (August Schellenberg) as the punishment is death. Just as Smith is about to die, Powhatan's daughter Pocahontas steps him and asks her father to spare his life. Smith becomes a prisoner but immediately during his period of captivity, he becomes enamored and absorbed with the culture of the natives. He also begins to befriend the worldly spirit of Pocahontas as the two learn about each others' languages while having this relationship that transcends all barriers. This period of captivity made Smith aware of the peace they live in as Powhatan decides that he should return home. Smith is taken back to the settlement his colleagues had been building where they've been struck by poverty. With Smith chosen to take over, it doesn't become easy as he is often in conflict with Argall (Yorick van Wageningen) while dealing with the starvation of other men including crazed men like Savage (John Savage), Murray (Eddie Marsan), Lewes (Brian F. O'Byrne) Thomas Emery (Jamie Harris), and Selway (Noah Taylor).

After a horrifying winter, Pocahontas comes to help the troubled settlers to give them food but Smith knows that her generosity might spell trouble. Despite their love for each other, Smith tries to give the natives things in return but more misunderstandings including the settlers refusing to leave their land lead to a horrific conflict in battle. Pocahontas is immediately banished by her father for her involvement with the settlers while Smith is also punished for his refusal to trade with another tribe for Pocahontas. Pocahontas is sent to the village that was becoming Jamestown as she becomes accepted immediately thanks to her generosity as she no longer is called Pocahontas and adopts new ideas from a woman named Mary (Janine Duvitski). Pocahontas finally sees Smith as he blames himself for her banishment and feels that if they get together, it only spells trouble. Newport returns where he wants Smith to take part on an exhibition around North America. Smith takes the job as he tells someone to tell Pocahontas that he died two months after his expedition.

Smith's departure breaks Pocahontas as she becomes an alien of sorts to the town until she captures the gaze of a widowed aristocrat named John Rolfe (Christian Bale). Rolfe begins a relationship with Pocahontas as he teaches her about the English culture while he like Smith, is enamored with her spirit. During their time, they marry and have a son while she adopts the name Rebecca. The marriage is seen as a treaty between natives and settlers after a period of conflict as Rebecca learns that Smith is still alive. Rolfe is aware of her feelings for Smith as the two go to England where she becomes an honored guest in front of King James I (Jonathan Pryce) and Queen Anne (Alexandra Malick). Rebecca along with Opechancanough and a few natives are taken to England as they are amazed at the world they're in now. With Rolfe aware of Rebecca's feelings for Smith, he arranges a final meeting between the two in his posh home as Smith is forced to deal with his own troubles and feelings for his lost love.

Now most historical moments that features a romantic subplot in films like Heaven's Gate, Titanic, or Pearl Harbor can either work or becomes a distraction. What none of those films have is the genius, narrative approach that Terrence Malick does with a romantic subplot. Since he's basing some of these ideas from fact and legend, the love story of Pocahontas and John Smith doesn't feel contrived at all and it's the heart of the story since it's about these two different cultures coming together and trying to understand one another. While the romance does lead to trouble of what was to come in terms of the tension between the settlers and natives, it helps conveys the story and what Malick is trying to say in his revisionist approach to history. Another thing that Malick does that works in this film that didn't work with other films about moments of American history is that he gets right to the point about these events and what had happened without over-dramatizing things that happened.

Plus, Malick's writing on characters reveals not just the arrogant ignorance that the English came on feeling that they own this land. Malick also reveals the natives’ reluctance into giving land to settlers since it disrupts the peace they had been living in. Malick doesn't take shots on the English because of their feelings, he knows why they try to find a new world since their land is filled with problems yet they take those problems into the new world. While the story moves slow for Malick's message to come across, the momentum he builds up does pay off emotionally and spiritually right to the end. Then there is Malick's unique narrative style that is a trademark of all of his films. The voice-over narration Malick does goes from different perspectives, mostly the perspective of John Smith and Pocahontas as they search for their own ideas on themselves and the lands. Also given some narration is John Rolfe in the film's second half in his description of Pocahontas and how he tries to help lift her spirits.

It's not just Malick's unique script that brings light to his interpretation of what happened in those times but its his direction that really is amazing. Particularly on how he slowly builds up the momentum of the story and observe the behaviors and nature of what is going on around Jamestown. Then when the film reaches its final moments in England, the feeling and mood change but not the spirit since Pocahontas and her natives are seeing the world of their neighbors and how it differs. Whereas the world that the natives live is wide open with this scenery of rivers, trees, plants, fields, and amazing sunlight. The world of England is a bit more claustrophobic upon their arrival since its more crowded and more divine in its religious imagery and richness. While Rolfe's English home does have the space that Pocahontas seem to love, it doesn't have the same worldliness that her home had.

Known for his visual poetry, Malick does something that not many filmmakers would do in capturing an epic, visual scope. Whereas most films would use 35mm for a full-film print in terms of widescreen presentation, Malick goes for 65mm where that print of film is often used for visual effects. In this film, the first since Kenneth Branagh's 1996 adaptation of Hamlet, Malick uses the 65mm for a visual scale that is undeniably powerful in each of its absorbing image. From shots underwater to the ariel shots of the world where Malick would spin around to observe every moment and every piece of grass and mud. From the steadicam, dolly shots of more dramatic sequences to the shaky, handheld camera work of the more intense scenes. More importantly, to convey the sense of realism and poetry that he wants in his vision, no artificial or light equipment was used. All the light from the sun, fires, and moons were the source. The overall result is Malick creating a film that is entrancing in its imagery while recreating an old story that is still compelling after all of these years.

Helping Malick in his visual scope is renowned Mexican cinematographer Emmanuel Lubezki. Known for his pallette visual style of greenish colors, Lubezki takes that color to even greater use as for anyone who have seen his work including the films of Alfonso Cuaron will know that he shot this. Lubezki's lush coloring and camera work with the use of sunlight and fire brings not just the realism Malick wanted but an exquisite visual scale that is unparalleled with many of today's period films. In many of the exterior Jamestown scenes, Lubezki uses whatever source of light he can find and brings a true vision of what it could've looked like. Even in interior settings, Lubezki uses the light for shadows and to convey the emotions of the characters. Since he used no filters or special equipment, Lubezki's work in this film is truly not just some of the best cinematography of the year but its by far his most absorbing piece of camera work to date.

Longtime Malick collaborator Jack Fisk does wonderful detail in the production design of capturing the look and features that goes on into the homes of the natives and settlers. Since the Jamestown scenes are shot right in Jamestown itself, the location is truly inspiring for Fisk, along with set decorator David Erickson and art director David Crank, to convey the true atmosphere of the differing worlds of the natives and settlers. Whereas the natives' world is more grounded and natural as opposed to the poverty-stricken of the settlers' home early on and later to the more bleaker world of England and its claustrophobic setting. Along with the costume design of Jacqueline West and the make-up work of Chris Varosky, the film truly captures an authenticity and spirituality to the clothing and makeup of the natives as it brings an atmosphere that is just amazing. Even the clothing that Pocahontas wears in her meeting with King James I is exactly true to the pictures that are shown in various history books.

Whether in its 150-minute long, NYC/LA theatrical version or the 135-minute wide-release version, the editing style of Saar Klein, Hank Corwin, Richard Chew, and Mark Yoshikawa is wonderful with its use of jump-cuts, black fades, and straight cuts shows the film in its unique form in its perspective to perspective. Even as they move the film quite seamlessly from sequence to sequence without disrupting its elliptical flow. Even the sound work of sound editor Skip Livesay and sound designer Craig Berkey rings true to the way sound works in those times where everything from the hitting of clubs, cannons, and animal calls are so true where even to the point that it can make the audience jump at the mix of all these different sounds. It's truly some of the best sound work done in a film.

Then we come to the music that features elements of Richard Wagner's Das Rheingold where it's used to convey a sweeping, operatic feel to help build the momentum of the film. Also included is Mozart's Piano Concerto No. 23 for more subtle, tender scenes involving John Smith and Pocahontas. Composer James Horner does bring in a bit of bombast to his score but goes for more sweeping and subtle pieces to convey the drama and romance of each scene as he creates probably his best score work to date.

Then, we have the film's superlative, enormous cast filled with great actors from the Native American community to an array of English actors. Playing small yet memorable roles as the natives are Jesse Borrego, Alex Rice, Michael Greyeyes, Kalani Queypo, Rulan Tangen, Myrton Running Wolf, and Irene Bedard as Pocahontas' mother who brings a great presence to her worldly spirit. In small roles as the settlers, Ben Chaplin, Brian F. O'Byrne, Noah Taylor, John Savage, Jamie Harris, and Eddie Marsan are excellent while Jonathan Pryce makes a wonderful cameo as King James I with Alexandra Malick as Queen Anne.

Raoul Trujillo is excellent as the natives' interpreter Tomococo while Wes Studi is brilliant as the war-like chief Opechancanough. August Schellenberg does great supporting work as the calm, observant Chief Powhatan who knows that intruders coming to his land will bring trouble as Schellenberg does great work. David Thewlis is excellent as the ignorant, wary Wingfield while Yorick van Wageningen is wonderful as the violent but disciplined Argall. Janine Duvitski is also wonderful in a small, supporting role as Pocahontas' maternal mentor. Of the supporting cast, none is as great as the brilliant Christopher Plummer as Captain Newport whose intelligence and willing to do good in making peace with the natives bring depth to a historical character. Plummer's wariness and wisdom brings light to the man's flaw as he feels that his arrival is an importance for his own country while he doesn't want to bring trouble. It's a great performance from the veteran actor.

Christian Bale, fresh off from his role as Batman, is wonderful in his role as John Rolfe. While not much is known about the aristocrat, Bale brings a wonderful emotion to a man who is willing to form a relationship with Pocahontas as he is seduced by her spirit. Bale brings a lot of humor and heart to his role while having great chemistry with Kilcher as his character reveals that he is aware that his love is in love with someone else. Bale does great work in playing a second fiddle for a woman whose spirit only brings him a lot of warmth. Colin Farrell delivers his best performance to date as the troubled, anguished John Smith who gains a peace of mind when he meets Pocahontas while being a man who is trying to find his place in the world. While Farrell had nearly embarrassed himself as Alexander the Great in Oliver Stone's awful 2004 film Alexander, Farrell more than improves as the rugged, adventurous Smith by playing a man who is confused while finding a sense of happiness. Where in Alexander, Farrell had to be more dramatic but in this film, Farrell displayed a rare sensitivity and warmth to his character as Farrell has proven to be a really, fine actor.

The film's breakthrough and most spiritual performance easily goes to Q'Orianka Kilcher as Pocahontas. While her previous work was a choir extra in Ron Howard's film version of How the Grinch Stole Christmas, this is truly one of the best debut performances ever captured on film. Every moment in the film, Kilcher creates a vibrancy and spirit that is indescribable. In her dramatic moments, Kilcher sells the heartbreak of her character while her scenes with Farrell, including their final meeting is filled with real chemistry that is true to their legend. There is never a dull moment from Kilcher and she is truly a young actress that should be watched.

***The Following is Additional Content Relating to the 135-minute DVD & 172-minute Extended Edition of the Film Written on 8/19/10 along with a new conclusion***

When The New World was slated for a late 2005 release. The film eventually came out in two different running times due to Terrence Malick’s notoriety for editing his films right up to the last minute. In New York City and Los Angeles in late 2005, Malick released a 150-minute cut of the film for Oscar consideration where it received a nomination for Emmanuel Lubezki’s cinematography. Malick would end up trimming 15 minutes of the first cut of the film for a 135-minute theatrical cut that was officially released in January of 2006. When news arose that Malick was in preparation of a much longer cut of the film, it only added to excitement among Malick’s devoted fans.

Yet, fans would end up having to wait for that extended cut of the film with a running time of 172-minutes that was eventually released on DVD in October of 2008. The New World is released in two different running time for its DVD released back in 2006 and later 2008 for North American region. The 2006 Region 1 DVD presents the film in a widescreen format of 2:35:1 aspect ratio with 5.1 English Surround and Stereo Surround Sound. Along with Spanish subtitles and closed captioning for the hearing impaired. The DVD includes only one special feature in the form of a 50-minute making-of featurette.

The making-of featurette explores the long process of making the film when production began in July 2004 and ended in November of 2004. It starts with Malick’s longtime production designer Jack Fisk recreating the entire Jamestown colony with a crew on a location nearby where the actual colony was. Taking the same amount of time the original settlers used to build the colony but with modern equipment, it was an attempt to recreate something close to what it was at the time. Even as an archeology professor gets a chance to look at the set to see how close it is as he is amazed by its look and authenticity.

The making of is set into ten parts where the second has Raoul Trujillo, who plays a Native American, also serves as a choreographer for the people cast as the Algonquian tribe. Scholars were brought in to see a language be revived as Trujillo and the rest of the Native American actors were brought into create their own personas for the film. Once Q’Orianka Kilcher was finally cast a month into pre-production, she came in to the rehearsals as everyone agreed she is Pocahontas. With the third part about the casting of Kilcher as Pocahontas, the fourth is about the recreation of the tribe with actors putting on makeup and such.

Part five is the use of the ships that was used as they’re all filmed on the rivers where the ships did arrive back in 1607. Even as cast and crew members talk where everyone is taking instructions from Malick via cell phone. Notably the film’s cinematographer Emmanuel Lubezki. Colin Farrell is shown the swords he will use for his battle scenes and his arrival into the Algonquian village set. Christian Bale for the eighth part along with actors and crew talk about Malick’s directing style. August Schellenberg discusses Malick’s approach which is to shoot at the moment with no rehearsals and no planning as if he’s doing a documentary. Even as there’s no cables or lighting projects as Lubezki and other camera operators have to use natural, available light. Yet, throughout the fifty-minute, 10-part documentary, Malick is not seen as it is an overall, fascinating piece on the making of the film.

The 2008 extended edition of the film is presented in the same theatrical aspect ration as in the 135-minute cut along with the same sound formats. Yet, the 172-minute version is not very different from the other versions. It’s mostly an extension of the film with subtle additions and such. The film begins with a quote from John Smith about Virginia prior to the opening credits. The film also has an extended scene of Pocahontas and fellow natives swimming underwater along with a scene of Wingfield pleading to Captain Newport about not sending John Smith to confer with the natives.

A lot of the film features not just extended scenes of Smith with the natives, going upriver with other settlers, and struggling to build the Jamestown colony. There’s other scenes where there’s more emphasis on the Smith/Pocahontas relationship including a scene that follows just after Smith makes a trade with another tribe. In the theatrical version, it’s inter-cut with him playing around with Pocahontas with audiences believing it could be a flashback. In the extended version, it has Smith returning from the trade where he meets and spends some time with her. When he returns to the ship, it’s clear he’s been gone for a few days.

The extended cut also makes note of Pocahontas’ own internal conflict on her love for Smith as well as her devotion to her tribe. Particularly a small scene with her uncle Opechancanough at the Rolfe estate in England where she reveals her guilt while he offers her a brief sense of wisdom about the many worlds around her. It’s not just added scenes that includes a small scene with Roger Rees as a governor discussing John Rolfe’s decision to marry Pocahontas. There’s a bit more of Newport in those scenes as well as one scene in England at the Rolfe estate. There’s a lot of material that is small scenes including one of Lewes meeting Pocahontas when getting some fish where he would tell Argall about a trade.

It’s not just what Malick adds to the film in terms of scenery, it’s also in the voice-over dialogue from Pocahontas, John Smith, and John Rolfe. Malick adds more voice over work from Pocahontas and Smith in terms of their own feelings about the environment and the conflicts they’re dealing with. For Rolfe, there isn’t much added though one piece of dialogue about his dead wife and child is cut as it’s later revealed through a dialogue between him and Pocahontas. Another addition to the film in its extended version is more of James Horner’s score pieces as it’s only used to underplay certain sequences.

To compare the 135-minute theatrical cut and the 172-minute extended cut seems hard to grasp on. Even as they’re both the same story but with small differences. It’s not easy to say which version is better but Malick is a director that has absolute control of what he can do. He prefers to let his audience figure out which is better. Then again, there is probably no version that is better other than the fact that The New World is truly one of most mesmerizing films of the past decade.

While it may not be as good as films like Days of Heaven or The Thin Red Line, The New World is truly an astounding and intoxicating masterpiece from Terrence Malick. No matter what cut of the film is presented, it is a film that truly enraptures an old world that is resurrected into the legendary story of John Smith and Pocahontas. With a superb cast that includes Colin Farrell, Christian Bale, Christopher Plummer, and Q’orianka Kilcher, it’s a film that recalls the beauty of the 17th Century as well as the discovery of something new. In the end, The New World is one of the most compelling films ever made and from one of the greatest directors out there in Terrence Malick.

Terrence Malick Reviews: Badlands - Days of Heaven - The Thin Red Line - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) - Song to Song - A Hidden Life - (The Way of the Wind)

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