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'To the Wonder,' a lesser effort by Terrence Malick

Photo: Courtesy photo, License: N/A

Courtesy photo

Ben Affleck and Olga Kurylenko give each other the silem treatment in the dialog-light To the Wonder

As a fan of director Terrence Malick’s work, it might seem odd to criticize his latest film for its lack of specificity. After all, anyone versed in Malick’s recent movies would be hard-pressed to describe efforts like The Thin Red Line, The New World, and The Tree Of Life as concrete in expression. But unlike those films, which, despite their lyrical flourishes, had a meaningful core, this cinematic tone poem to unanswered love and faith fails because its ravishing, impressionistic visuals do not convincingly echo the emotions, desires, or frustrations of actual human beings.

After falling in love in Paris and vacationing in Mont Saint-Michel, Neil (Ben Affleck) brings the ever-twirling Marina (Olga Kurylenko) and her 10-year-old daughter Tatiana (Tatiana Chiline) back to the United States. The trio settle into a featureless subdivision in Oklahoma, where Neil works as an environmental inspector and the women struggle with both geographic and culture shock. Marina is convinced that she can bear the emptiness of the landscape and the blandness of an American lifestyle if only Neil loves her. But that seems far from certain. He appears to doubt whether he’s made the right choice and she begins to fear that she’s made a terrible mistake. When her visa expires, Marina and Tatiana return to France. Soon after, Neil stumbles into his old flame Jane (Rachel McAdams) and before long they’re in a serious relationship. But Neil can’t help but want Marina back. And so she returns and they pick up where they left off. Only things are not as they were before.

In parallel to their story, we meet the local Catholic priest Quintana (Javier Bardem), a man struggling with his own kind of thwarted yearning. Though he diligently fulfills his duties — tending to the sick and the poor, giving sacrament, advising first Marina and then later Neil — he no longer feels the presence of God. He relentlessly searches for a hint of divine inspiration but finds only the desperate flailings of those who are lost or troubled. In To the Wonder, doubt, whether it is spiritual or romantic, becomes the defining trait of all its characters.

Narrative convention has never been one of Malick’s concerns, but here he sheds almost all externalization of thought, emotion, or action. We witness the moments that take place before or after a discussion, but never during. Neil, Marina, Jane, and Quintana are more like shadows than realized human beings, given an improvised story, few if any lines of dialog, and no specific background. Their crises of love and faith, their hunger for connection, their fear of loss and abandonment, is expressed in whispered, impossibly poetical voiceovers. Sometimes uttered as philosophical musings or Biblical passages, they sound like faint murmurings from the soul — an artistically ambitious conceit but hard to connect with in a meaningful way.

Malick’s movie is like a visual sermon, reminding us of the precariousness of the ground we tread upon. Faith, love, and nature are presented as sand beneath our feet — sometimes firm, sometimes perilously changeable.

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