Introduction
Released in 2012, To the Wonder marks the shortest timeframe
between Terrence Malick films - with Palme D'Or winner Tree of Life dominating 2011. To the Wonder didn't
garner the same attention as Tree
of Life, but it holds a similar DNA as it dreamily reflects on the
relationship between Neil (Ben Affleck) and Marina (Olga Kurylenko). As an
artist, Malick reacts to the moment and ruthlessly excises unnecessary characters
and ideas if they do not relate to the core-story he is trying to tell. The Thin Red Line removed performances by Gary
Oldman and Mickey Rourke, while To
The Wonder removed characters
portrayed by Rachel Weisz, Barry Pepper and Jessica Chastain. Creatively, this
demonstrates a sense of expression that is honest and true. At this point in
his career (and his success in 2011) he has absolute freedom and the final edit
is absolutely what he wants - unlike Clooney in The Thin Red Line, whereby
studios forced him to include an A-List star. Additionally, Oscar-winner Ben
Affleck appears in the film and, rather than an acting job alone, Affleck was
bound to use this opportunity to observe what many believe is one of the
greatest living directors, on the job.
Richard Linklater’s Before Sunset/ Sunrise/ Midnight triptych philosophises
on relationships through constant dialogue between characters that, whether
relatable or not, give the impression that lead characters Celine and Jesse are
a little too self-involved. To
the Wonder doesn't
philosophise with the excessive dialogue and, instead, manages to explore
similar issues by using extreme close-ups of intimate moments to direct our
attention.
Marina (Kurylenko) is front and centre as
we see her relationship begin (in Paris) and break down (in the USA), through
an obsession towards her American lover Neil (Affleck). The opening of the film
depicts the only moments of hand-held video-recording as Neil and Marina are
deeply falling for each other. Malick remains close to the couple throughout
and the subtlety of hands caressing and feeling for each other, while they
laugh and smile, romantically set the foundations of this film as a deeply
personal story. The relationship in Badlands hints at an almost
self-destructive journey as Martin Sheen and Sissy Spacek are on the run - To the Wonder doesn't seem to hold such
pessimism in these opening moments.
Beauty and romance are overpowering in
these early scenes - and the addition of Marina's daughter (Tatiana Chiline)
provides Neil with a paternal role which he manages to live up to. Again, akin
to Linklater's trilogy, it romanticises Europe - and Paris in particular (the
setting for Before Sunrise)
- in this opening before transferring the film to Oklahoma and the suburban
lifestyle Neil affords through his environment-inspector profession.
Faith and Future
Outside of the relationship, in Oklahoma,
we are also introduced to Catholic Priest Father Quintana (Javier Bardem) who
supports Marina while he has a crisis of faith on his own. The separation in
story as we see Quintana visit the poverty-stricken citizens of the town
invites comparison - as does the re-location from France to America. We
question whether Marina and Neil fell in love because of the journey they
shared - and whether the static moments in the US combined with the industrial
surroundings are what chipped away at their initial moments of happiness. We
also reflect on the "struggles" they have as we also see the
challenges of other town members when visited by Father Quintana – Marina and
Neil are unique and lucky to have each other in such comfortable circumstances.
Quintana's support of them is potentially the reason he has this crisis, especially
when you consider the support he offers those in prison that far outweigh
Marina and Neil's sense of confinement and apparent lack of love.
Jane (Rachel McAdams), is described as Neil’s
lost-love and a woman who he conducts an affair with when Marina is forced to
return to Paris. This period is ambiguous as Marina now sees the tall, modern
buildings of Paris as oppressive and dreams of the beauty of the endless fields
and landscape Neil and Jane conduct their affair upon. It begs the question as
to whether Jane exists at all considering the perspective is primarily Marina's
and the two never appear to meet. Is it these thoughts of hers that pre-empt
the end of their relationship? Does Marina imagine that she is not good enough,
in turn prompting her to destroy and end their marriage? Ambiguity is what
Malick does best and I can only marvel at the endless questions that arise from
these various plot-threads.
This post was originally published for Flickering Myth on 17th June 2013
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