Song to Song

I always go to a Terrence Malick movie hoping to find once again something akin to the transcendent vision firmly grounded in the real world that I encountered when I first saw "Days of Heaven" (1978), a movie that combined gorgeous cinematography with a compelling plot. My hopes were dashed yet again with "Song to Song." The visual beauty is here, but the movie feels bloated, self-indulgent, and disconnected. Malick's technique of splicing together seemingly random footage overlaid with barely audible interior monologue has by now become formulaic, and he seems incapable, unwilling, or afraid to deliver a sustained scene in which characters actually exchange meaningful dialogue. And speaking of characters, one after another is introduced for no apparent reason, as if quantity could make up for the fact that none of them are developed, and their utter shallowness foreshortens any depths the movie might be trying to plumb. Finally, the movie went on so long that I left feeling too exasperated and exhausted to hold on to the shreds of visual beauty that it offered.

BV (Ryan Gosling) and Faye (Rooney Mara) are musicians. Cook (Michael Fassbender) is a producer. Rhonda (Natalie Portman) is a waitress. BV has a fling with Amanda (Cate Blanchett) and Faye with Zoey. These relationships start, conflict, stop, and detour in the Austin music scene.

Terrence Malick continues to make these beautiful-looking dreamlike movies. It's beyond beauty but the story telling is muddled. His style of filmmaking is deliberately disjointed which makes all these complicated relationships hard to follow. It's also emotionally distant. Mara and Gosling have these droning voices which don't help in this case. It's a beautiful movie but the complicated relationship jumping loses me along the way. There is a bit guerrilla filmmaking as Malick steals scenes during real music festivals. This would work much better with fewer relationships.

My God I am all here for a great experimental, artistic movie, but this was just boring. Despite all the great cinematography, the message from this movie could be told in 30 minutes and was explored so much better in another 100 movies. The scene with Holly Hunter in the parking lot was the best one, but it only lasted a few seconds. Besides that, it was just an accumulation of beautiful faces flerting together (good acting nonetheless). And where was the music? The music could have saved the movie. Filming the film at a festival and putting on some old music legends doesn't do the job.

"The world wants to be deceived." Cook (Michael Fassbender)

Terence Malick's current cast of romantics are lost in themselves, searching how they can find fulfillment, largely through troubled relationships that on the surface look ethereal. Of course, that heavenly view happens because Malick's point of view is through his lens, which, with the help of his usual cinematographer, Emmanuel Lubezki, is other-worldly gorgeous and impressionistic.

Although Malick has taken inspiration from trees and landscapes in many other films, here he takes pleasure in the angles of modern Austin architecture with its glass-dominated homes and their infinity pools. All the better for the heroes Faye (Rooney Mara) and BV (Ryan Gosling) to be constantly thinking of themselves as the center of the universe and those outside the glass a part of the menagerie to be neglected.

The fly in the ointment of love is producer Cook, who is after Faye and succeeding without BV knowing it. The eternal triangle seems to flourish for much of the film because Malick not only sees like a painter with just images to contend with, but he also concentrates more on the physical properties of his characters and their stories and less on the corrosive result of promiscuity.

The glue to the multiple images is the soundtrack, about as eclectic as you'll ever hear and changing with most sequences. The songs evoke mood and meaning as well as the remembered past, Reinforcing the dominance of music are cameos from the likes of Iggy Pop, Tegan and Sara, Anthony Kiedis, and Lykke.

Music and memory are the stuff of Song to Song. Along with Malick's incomparable images, you'll be fully immersed in the impressions of people caught in the act of using love to give meaning to life. Just don't expect a tour of the Austin music scene. It's all about impressions, Baby.

After many of my friends telling me that I needed a break from heavy-hitting movies and shows, they recommended me Song to Song. The first time I watched this I was tempted to write the worst review that I had written in years. However, when I rewatched it and really just let go of my expectations for the plot and other standard cinema directions, it was a fairly pleasant experience. You can really see that the actors (particularly Gosling) are having lots of fun while freestyling in this movie. Many state that this is one of Mallick's most disappointing and pretentious, slow films but I advise you: do not think of this movie as a juggernaut cast following a script and a plot.