Day: September 22, 2010
Whenever I meet new people and they discover that I teach film for a living, they invariably ask me: “So what’s your favorite movie?” I realize that this is polite, small talk kind of question. It’s the kind of question people think that they are supposed to ask me. But to someone who has devoted their livelihood to researching, analyzing, and teaching about moving images, the question is agonizing. Asking me what my favorite movie is is like asking me: “Which of your children do you love the most?” There is simply no way for me to answer this question in a satisfying, honest way. So I usually tap dance around the answer, trying all the while to not sound like a pretentious academic douchebag (which is what I am). “Oh it’s so hard for me to choose!” I say. When the asker looks sufficiently annoyed, I usually submit and say something expected like “Casablanca. Casablanca is my favorite movie” Then they leave me alone.
But the real answer to the question “What is your favorite movie?” is very complex for me. I love different movies for different reasons. I love Double Indemnity (1944, Billy Wilder) for its whipsmart, sexy dialogue. I love The Crowd (1928, King Vidor) for its winsome, bittersweet ending. I love Magnolia (1999, Paul Thomas Anderson) because it was the only movie to figure out the exact kind of role that Tom Cruise should play. I love The Breakfast Club (1985, John Hughes) because I watched it pretty much every Saturday afternoon on TBS when I was 12 and didn’t realize that they weren’t smoking cigarettes during that one scene in the library. I love American Movie for so many reasons but especially because of this scene:
And I love Terence Malick’s debut film (his DEBUT!), Badlands (1973), because it is, for lack of a better word, a perfect movie. Badlands is a movie that I never tire of watching. I get giddy about the opportunity to introduce it to new people. For that reason, I try to put Badlands on my syllabus whenever possible. In fact, this week I screened Badlands for my Film Theory and Criticism students for our unit on film sound. I love teaching this film because, as I mentioned, it’s perfect, and most students have not heard of it. Therefore, after the screening students generally exit the classroom with the same dazed, but happy, expression I had after I watched it for the first time.
So what makes Badlands a “perfect” movie?
Terence Malick’s Script
In the very first scene of the movie we see Holly, a 15-year-old girl (Spacek was 24 when she played the role) with red hair, freckles, and knobby knees. She is playing with her dog on her bed. It is a scene of innocence, of total girlhood joy. But this happy, carefree image contrasts with Holly’s vacant, flat, voice over, which informs us “My mother died of pneumonia when I was just a kid. My father kept their wedding cake in the freezer for ten whole years. After the funeral he gave it to the yard man. He tried to act cheerful but he could never be consoled by the little stranger he found in his house.” In four brief lines Holly aptly summarizes her childhood: she was an only child; her father was once a real romantic (he kept his wedding cake in the freezer for 10 years after all) but the untimely death of his wife deadened his heart (he gave the cake to the yard man after his wife’s funeral); Holly and her father are unable to connect emotionally (Holly knows that her father sees her as a “stranger”). Such is the mastery of Malick’s tight script — not a word is wasted.
Malick’s script is also admirable in that he was able to capture the rhythm and the texture of a teenage girl’s stream of consciousness. Holly doesn’t speak like an adult and she doesn’t speak like a child. After Kit kills Holly’s father he instructs her to grab her schoolbooks from her locker so that she won’t fall behind in her studies. Holly’s voice over then tells us “I could of snuck out the back or hid in the boiler room, I suppose, but I sensed that my destiny now lay with Kit, for better or for worse, and it was better to spend a week with one who loved me for what I was than years of loneliness.” If these words were in Holly’s diary they would probably be adorned with hearts over the i’s and little flowers scribbled in the margins.
Holly’s Voice Over/The Stereopticon Scene
There are so many scenes I could point to that illustrate the genius of Sissy Spacek’s line readings in this film, but my favorite is the much-lauded stereopticon scene. After killing Holly’s father the couple flees to the woods and build themselves a Swiss Family Robinson-style tree house (though it is likely that the grandure of this house has been imagined by Holly). In the middle of this segment, Holly sits down to look at some “vistas” in her father’s stereopticon. This is the first time that Holly has mentioned her father since his murder and yet she still does not mention if his death bothers her. As Holly looks at travelogue images of Egypt and sepia-toned lovers, she waxes philosophical, in the self-involved way that only a 15-year-old girl can. As she looks at an image of a soldier kissing a morose young woman she wonders “What’s the man I’ll marry look like? What’s he doin’ right this minute? Is he thinking about me now by some coincidence, even though he doesn’t know me?” As the camera slowly zooms in on this particular image Holly asks, the excitement barely rising in her quiet voice “Does it show in his face?”” The non-diegetic music becomes more intense as the scene progresses. Holly is coming to an epiphany. She is just some girl, born in Texas, “with only so many years to live.” She is aware that her life is structured by a series of accidents (her mother’s death), and yet, that life is also fated (“What’s the man I’ll marry look like?”). This voice over indicates that Holly is able to see her role in the larger web of humanity, and yet, this same girl watches as her boyfriend shoots her father and random unfortunates who happen to cross their path. It is infuriating and chilling. In fact, every time I watch this scene I get chills.
Kit/ Martin Sheen
I can’t say that I know much about Martin Sheen’s body of work, other than his roles in Apocalypse Now (1979, Francis Ford Coppola) and Wall Street (1987, Oliver Stone). I do know, however, that Martin Sheen frequently mentioned that Badlands was his best work. And I’ll take his word for it. Sheen is amazing in this role. He plays Kit as a man in limbo, a study in contradictions. He lectures Holly about the dangers of littering (“Everybody did that, the whole town’d be a mess”) but shoots her father without comment. He fancies himself a man of ideas, but when given the opportunity to speak, he has nothing to say. Kit wants to be a rebel, like his idol James Dean, but he speaks in platitudes.
Kit is constantly wavering between two poles. Sheen could have therefore played Kit as a bipolar monster — a man who shifts from one personality to the next. But instead, he makes Kit’s duality into an integrated whole. He plays Kit as a man who does not know who he is or what he should do; he only knows that he must fully commit himself to whatever choice he makes. For example, after Kit has been arrested he is allowed to speak with Holly briefly. Kit boasts “I’ll say this though, that guy with the deaf maid? He’s just lucky he’s not dead, too.” Then, in the same breath he tells Holly “Course, uh, too bad about your dad…We’re gonna have to sit down and talk about that sometime.” These moments are almost comical. Indeed, my students often laughed at Kit’s antics, even when he was shooting people.
I am incapable of talking about film music in a useful way. I can only ever use vague words like “haunting” or “tense” to describe a score. But there is something … haunting … about the non-diegetic tracks used in Badlands, such as the angelic, choral music that plays as Holly’s childhood home is consumed by fire:
So I suppose the next time someone asks me what my favorite movie is, I should just say “Badlands.” It wouldn’t be true, of course. As I mentioned, I could never pick just one. But it’s a movie that represents everything I love about movies: beautiful cinematography, impeccable acting, a tight script. And those chills.