Reviews for The New World have, for the most part, been favorable. Most critics are unanimous in their widespread appreciation for the beautiful and breathtaking cinematography. Their praise, however, is checked by seemingly ubiquitous admonishments with regard to the pace of the film and the unattached, seemingly distant characters. Aesthetically speaking, these observations are valid. The running time of the film is 150 minutes and there are several lengthy montages which feature little or no dialogue. Additionally, the characters in this film are not as charismatic and affable as we have become accustomed to with regard to Hollywood films. Do not, for example, expect Collin Farrell’s character, Captain John Smith, to be the Kevin Costner (Dances with Wolves) of an earlier era. But keep in mind that this is no mistake on the part of Malick. Moreover, there are no unintended coincidences in this film.
Great films, unlike average ones, do two things spectacularly well. The first is the ability to entertain the masses. Even for an eccentric, philosophical director like Terrence Malick, entertainment is what the studio must get in return for providing funding. The second aspect, however, and the one area that separates a director from an auteur, is the ability to also promote (alongside the basic plot) a subversive, esoteric text with an inherently scripted ideology. The point, of course, is that the majority of moviegoers will never comprehend the latter aspect but may still be entertained by the film. For those of us who are fortunate enough to read the art in the film, the reward is tantalizing.
In light of the modern situation consisting of terrorism, war, aggressive capitalism, disease, etc. this film resorts to where man will go. Malick’s glorious, sweeping vistas of America’s scenic beauty are not merely an embellishment for the eye. Neither is the retelling of the John Smith/Pocahontas story just another stylized adaptation. Indeed, if the characters are so distant, and the pace of the film is so slow (as critics argue), is that not sufficient evidence that Malick does not exaggerate the premise? What Malick does in this film that is so unusual is that he actually makes the subversive ideology the MAIN aspect of the story (more significant, in fact, than the plot or the characters themselves). Even classic films such as Citizen Kane or Casablanca are plot first, ideology second. That is not the case with The New World. Pocahontas, in fact, is a perfect allegory toward man’s seemingly insatiable appetite for self-appreciation and his unfailing ability at exploiting, consuming, and destroying everything he comes in contact with; even himself. The characters in this film are merely pawns on Malick’s chessboard—a sort of means of providing a context by which his argument may be waged. The fundamental question he offers (and the one that makes it relevant in today’s culture) revolves around man’s place on Earth. All of Malick’s films touch on the idea that Earth’s natural bias is not toward mankind, but toward nature; which pre-existed man and will no doubt post-exist him. Will man ever recognize his rightful place behind nature; or more importantly, will mankind ever realize that this question will likely determine his fate as a species?
Bush and the neoconservatives seem to not concern themselves with the long term consequences of their actions. As many of you know, I am a staunch Bush supporter, but I must point out that I only support him in light of the modern political situation. In actuality, reform is something which should be cherished an strived for.
The New World is a beautiful and haunting narrative as to why mankind must place itself not at the head of the line, but in its rightful place.