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THE NEW WORLD (2005) (****)

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Terrence Malick is a director who works very sparingly. But when he does, you must pay attention. Visually he is one of the best filmmakers alive.

The film tells the love story between Pocahontas (Q’Orianka Kilcher, film debut) and English settler John Smith (Colin Farrell, ALEXANDER). The film begins at the point when Smith arrives in the New World and continues until Pocahontas marries tobacco merchant John Rolfe (Christian Bale, BATMAN BEGINS) and travels to England.

The film is deceptive and lyrical, moving at a measured speed. The pacing to the film is part of the film’s metaphor. Smith becomes lost in the “perfect” world of the Indians and envisions it as a dream. Their world provides a freedom that he didn’t know existed.

However, the film isn’t about him, but is more about Pocahontas and how she moves from an idealistic tribal lifestyle into the “security” of the modern world. In this seemingly simple love story, Malick has found an amazingly deep metaphor for the transition of the Native Americans into the European way of life. In a brilliant step, the film doesn’t necessarily paint the transition as bad, but more sadly inevitable.

For the cinematography, an Oscar is deserved. This is the prettiest film I’ve seen all year. America is a beautiful place and this film captures it wonderfully.

When thinking back on the film, I am awed by the many layers of metaphor. In setting a fairly familiar “first love-mature love” tale against the dawning of America, the film finds a core metaphor that is completely organic, hauntingly emotional and perfectly executed. This is the kind of film that stays with you and makes you think. It doesn’t let go of your memory and slowly creates a strong need to see the film again. Some great films blow you away from the start, this film works on you on a subconscious level over time.

In a nearly silent performance, 15-year-old Q’Orianka Kilcher makes a striking film debut. She is mesmerizing in her beauty, but it’s more in her natural energy than just in her appearance. You just understand innately why Smith loves her. Farrell also has little dialogue, but he creates a complex character in Smith. He is truly torn between two worlds, mostly out of fear to abandon everything he knows, which is a condition thrust upon Pocahontas. Bale is also great as the “responsible husband.” He’s stuffy and unromantic, but he is nonetheless kind and unusually wise about the world of emotions. This is the most traditionally poetic film of the year. The story of Pocahontas has never been this good before.

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Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks