The portraits of psychopaths or sordid personages put in the same context that infantile or innocent mentalities have left always big movies to us, often troublemakers. We have only to remember the famous scene of Frankenstein and the girl on the banks of the lake, but from to "M" up to “Tideland“, happening for “Taxi driver” or “The night of the hunter”, the topic has always resulted from the most effective thing for the film makers who have been able to extract party.
"Bad Earths" there was the début of Terrence Malick, the slightly prolific author of the brilante "The thin red line". Malick obtained the money to roll it of an independent producer and in a pass for critics it left them to all with the open mouth managing so a big study will bet for distributing it. Nevertheless it was a round defeat in his premiere since the public could not assimilate a history of so ambiguous morality. Since then the movie has loaded with a completely fully deserved aura of movie of cult.
The history is simple: Kit is a solitary boy interpreted by Martin Sheen (who was already going on from the about thirty but a 19-year-old personage was interpreting) that falls in love with Holly (Sissy Spacek), a girl of 15 submitted by his father to an iron moral discipline. This one is opposed to the relation with what the young people glides to escape, but the father surprises them and Kit in full affray ends up by murdering it, event that of form turbadora leaves the indifferent girl. Nothing prevents so from escaping with his fiancé to be lived to the forest out of any moral rule and where the violence and the death will be practised as if of a children's untranscendent game it was talking each other. The big wise move of "Bad Earths", the fact is that mostly it is narrated by the voice in off of Holly who reaches port innocent and unreal point of view on the monstrosities that there is committing his partner inspired certainly by the real psychopath Charles Starkweather who left a deaths trickle of water after himself in the 1957 accompanied by his thirteen-year-old fiancée.
Everything works in this movie like a watchmaker's mechanism: The interpretation of Sissy Spacek like Holly detaches the whole naivety and the innocence that the personage needs and transforms the vision of the facts on having put them under his point of view. The sound-track made with the use appellant of melodies of Carl Orff and Erik Satie always turns out to be brilliant and provides to the set of big finished formally, and that to say about the photo of the beautiful natural places where there passes the majority of the escape of the protagonists (the arid sceneries of the American badlands). Also we might speak about the secondary personages, guessed right and very elegant all of them.
One of those tapes is "bad grounds" morally ambiguous that are an artistic victory and a commercial defeat. Certainly this movie is any less conventional thing and it is little less than a masterpiece.
Evaluation: 9/10
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