Days of Heaven, Terrence Malick’s second feature film, has a simple plot and is remembered for its dazzling cinematography. However, the film’s uniqueness lies in the way it expertly combines the stunning visuals with Ennio Morricone’s score and Malick’s choice to narrate the story from a young girl’s point of view.
Set in 1916, Bill (Richard Gere), a manual laborer working at a factory in Chicago, mistakenly kills his boss and flees with his girlfriend, Abby (Brooke Adams), and young sister, Linda (Linda Manz), who also narrates the film. They board a train to Texas and are hired as part of a large group of seasonal workers to work on a farm owned by a reclusive, wealthy ranch owner (Sam Shephard). To avoid gossip, Bill and Abby decide to conceal their relationship by posing as brothers and sisters. The ranch owner is instantly taken with Abby, falls in love with her, and wishes to marry her. After learning that the ranch owner has a year to live due to his illness, Bill persuades Abby to marry him so that they might inherit the owner’s riches when he dies. But to everyone’s surprise, his health does not deteriorate, and Abby gradually develops affection for him. As a result, the three of them get caught up in a love triangle, which leads to complications and ultimately disastrous outcomes.
Yes, the story of Days of Heaven isn’t exactly groundbreaking, and critics were right to call out its rudimentary premise when it came out; the film centers on the hardships endured by poor people and the regrettable decisions they had to make due to their financial crisis. So, what makes this film special and memorable 45 years after its release? Is cinematography the sole factor for its success and longevity? Without a doubt, Days of Heaven is among the most beautiful-looking films of all time, and the cinematography by Nestor Almendros and Haskell Wexler (credited as an additional photographer) features breathtaking visuals where each frame looks like a painting. Certain exterior scenes have a magical quality to them, like the one where the workers toil in the massive wheat patches or the one in which the workers fight to extinguish the fire that spreads throughout the farm at night owing to a locust infestation. But presenting beautiful pictures on the screen alone isn’t enough to elevate a film to a distinctive level; as Billy Wilder once wisely put it, “Making a movie with great cinematography shouldn’t be the priority because it diverts the attention of the audiences from the characters and their dialogues.”
Nevertheless, in areas where Malick falls short in terms of establishing emotional depth through character development, actors’ performances, and chemistry, Ennio Morricone’s melodic, melancholy, and haunting score more than compensates. Morricone’s four compositions, titled “Harvest,” “Happiness,” “Honeymoon,” and “The Return,” do the majority of the work of intensifying the dramatic impact and carrying the film on its shoulders. Watching awe-inspiring imagery on the screen accompanied by Morricone’s sublime music is a captivating experience that will stay with you forever. Last but not least, Linda’s narration is what makes Days of Heaven unique and remarkable. After shooting wrapped, Malick spent two years fretting over how to edit the film. Finally, he decided to cut a lot of dialogue and replace it with Linda’s narration, which, in my opinion, was the right call because it binds the film together and makes it coherent. Her innocent and non-judgmental narration has a reflective tone, which allows you to see life through her eyes and immerse you in the story and the characters’ world.
Finally, when all three elements—cinematography, soundtrack, and narration—work together, the outcome is cinematic enchantment.
Days of Heaven movie links: IMDB, Letterboxd
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