Terrence Malick. The name itself conjures up images of breathtaking cinematography, philosophical voiceovers, and a unique, almost ethereal approach to filmmaking. For a long time, I considered myself a devoted admirer, even dedicating academic study to his work alongside cinematic giants like Welles and Kubrick. His early films, from “Badlands” to “The Tree of Life,” felt like landmark achievements, each a profound exploration of life, nature, and the human condition. Even “To the Wonder,” despite its flaws, held a certain enigmatic allure.
However, Malick’s recent output has been… different. Following the critical acclaim of “The Tree of Life,” he embarked on a period of prolificacy, resulting in films like “Knight of Cups” and now, “Song To Song.” Filmed back in 2012, and only now seeing the light of day after a lengthy post-production process involving numerous editors, “Song to Song” arrives with considerable anticipation. Yet, much like “Knight of Cups,” it unfortunately feels less like a profound cinematic experience and more like a self-parody of Malick’s signature style.
The hallmarks are all there: the whispered, almost constant voiceover narration from nearly every character, the stunning visuals capturing both natural beauty and opulent settings, and a cast of incredibly attractive actors drifting through scenes, engaging in vaguely defined emotional interactions. “Song to Song” is ostensibly set against the backdrop of the Austin music scene, and revolves around intertwined love triangles. However, music itself feels strangely peripheral, failing to truly integrate into the narrative in a way that could have enriched the film.
While Malick’s earlier works were often abstract, they were anchored by rich, tangible themes that resonated on a universal level. “Song to Song,” much like “Knight of Cups,” feels adrift, indulging in cinematic techniques without a compelling core. It’s a film that relies heavily on the charisma of its stars – Rooney Mara, Ryan Gosling, Michael Fassbender, and Natalie Portman – all undeniably captivating figures. Their sheer screen presence holds your attention, but even their combined talents can’t fully mask the film’s underlying emptiness.
Rooney Mara takes center stage, effectively serving as the film’s protagonist, while other notable actors like Cate Blanchett, Holly Hunter, Val Kilmer, and Berenice Marlohe are relegated to brief appearances. There’s a fleeting moment of genuine emotion late in the film, involving Holly Hunter’s character, but it’s quickly brushed aside. Malick seems far more interested in repeatedly showcasing the stylized flirtations and attractive angst of Mara and Fassbender.
I’m a firm believer in experimental cinema, but “Song to Song” feels like a particularly shallow form of experimentation, especially considering its Hollywood pedigree. Made by an auteur of Malick’s stature, with A-list stars eager to collaborate, it highlights a certain lack of daring in mainstream experimental filmmaking. It evokes a sense of nostalgia for truly boundary-pushing collaborations, like those between Tilda Swinton and Derek Jarman.
While some viewers may find “Song to Song” to be a masterpiece, echoing the reactions to “Knight of Cups,” I find myself struggling to see it in the same light. My respect for Malick remains, but I long for the days when his visual poetry was in service of a more substantial narrative, when he had something more profound to communicate. “Song to Song” ultimately feels like a beautifully shot home movie, made for personal indulgence rather than for a wider audience seeking meaningful cinematic engagement. It leaves one hoping that Malick will soon return to expanding his canvas to encompass stories and themes that truly resonate and captivate.
