Terrence Malick is one of the most revered – and divisive – directors in cinematic history. Whether it’s in his finalized work on the screen, or the way he works behind the scenes, Malick has always been somewhat of an anomaly in the world of filmmaking. He’s a three-time Oscar nominee, but he has also been known for working with no script or making last-minute changes that leave scenes with well-known actors on the cutting-room floor.
Buy The Magic Hours: The Films and Hidden Life of Terrence MalickJohn Bleasdale’s new book, The Magic Hours: The Films and Hidden Life of Terrence Malick, explores all that is already known to most of Malick’s fanbase and even goes a little deeper into the background of one of the most reclusive artists working today. Like the late author Cormac McCarthy, Malick has been known for not doing interviews with the press, even when one of his films is prepping for its big premiere. Bleasdale gathers interviews with select individuals who worked with Malick (nicknamed “Terry” by many) and does an extensive amount of research to bring what is being considered the first true biography of the director of The Thin Red Line and The Tree of Life.
Malick’s big break came around the time that big names such as Francis Ford Coppola, Martin Scorsese, and Steven Spielberg were making a big impact in Hollywood in the 1970s. But it wasn’t easy for him, as Bleasdale discusses the tumultuous productions of his first two films, Badlands and Days of Heaven. Neither film received the warm embrace of the press and moviegoers as the other filmmakers’ works did, but they eventually were acknowledged as important pieces of cinema later.
Bleasdale reveals some other key facts about Malick that many may not know, such as his involvement with the Dirty Harry franchise and details about the short films he’s worked on. There is a 20-year gap in Malick’s filmography, which is a chapter all to itself and goes to great lengths to outline what was going on with Malick during that time and what sparked him to return to Hollywood.
Even though Malick is not interviewed for his own biography, which shouldn’t come as a surprise to those who follow his work, Bleasdale does an excellent job of revealing details that may not be known to even some of the most ardent fans. Malick’s family life is discussed in depth here, outlining the passing of his younger brothers and how he wove them into his work. The influences of his parents, and how their deaths impacted Malick, and the divorces Malick has personally experienced also show in his work. Bleasdale doesn’t shy away from discussing these elements with all the information that was made available for this book.
The Magic Hours also goes into what takes an unusual amount of time for a Malick film to be released, even after filming has long wrapped. The rumors that swirl about Malick being “difficult” are discussed here, but also quashed with more information. One thing that most people discuss, and is mentioned often in the book, is Malick’s sense of humor. Considering how his work is more serious and deep in themes, one wouldn’t expect him to be considered “funny.” But it shows a different side of him that not many expect.
There have been several books discussing the themes and other elements of Malick’s work, and his films are some of the most talked about features out there – even if they are not all well-received. The chapter talking about the “Weightless” trilogy (To the Wonder, Knight of Cups, Song to Song) perfectly captures the feeling of doubt and trust in Malick as he went from taking a long time to put out a new release to releasing three in a five-year span. The wonder of Malick and the appreciation his work received seemed to have been lost for a time, but then came back with A Hidden Life, his last-released effort at the time of this review. And Malick seems to be back in the praises of film lovers again.
The Magic Hours is the first book to give a true biographical outline of the mysterious figure that Malick is, and Bleasdale does a splendid job of giving Malick fans and film buffs as much as possible about the filmmaker. The final chapter discusses the upcoming The Way of the Wind and is a great place to end it, as it leaves the feeling of open-endedness and uncertainty that usually accompanies a Malick project.
