Song to Song and Terrence Malik’s glare

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When, in passing on television, I saw the trailer of the Song to Song movie, I thought: “Could we be able to stop Ryan Gosling to sing?”. Yes, I fell for it. I thought of another unmissable musical. But so it’s not, just read the name of director Terrence Malick, to understand that despite Ryan Gosling still has a vision, we could not really wait for a La La Land-style film, but we’re not even at The Tree of Life!
Francesco Boille, on the Iternazionale pages, called Song to Song “almost a involuntary self parody” by Terrence Malick, especially taking into account the director’s filmography and culture.
“Not only because the aerial lightness of the director is done, not just because the way is cold and often aesthetically exhilarating,” explains the film expert, “but because in dealing with intolerant and dialogic situations that would be aulic and rare but which are falsely profound, lightness end up encroaching irrelevance”.
Someone, however, has called this film the celebration of the rock world, and “in particular the texan scene, with cameras by artists such as Patty Smith, Iggy Pop, Flea, Arcade Fire and John Lydon.” La Stampa, however, headlines the article: “Song to Song”, little Master music.
That said, Malick’s hand is recognized at the first frame. Song to Song is perhaps his greatest experimentation and synthesis of his work up to now, from the usual search for improvisation and the usual wrap-around movement of the camera, as if he wanted to carry us to Austin. And the cast is extraordinary.
There is not only Ryan Gosling, but also a fabulous Michael Fassbender, Rooney Mara, Natalie Portman. However the poetry, that, alas, is missing. Yet he had the chances, the fabric, the protagonists and the time. And yes, the time, because the film between doubts and perplexities, is being worked out since 2011, with a cast that has changed all these years until we get to what we see today on the big screen.
The plot is based on two amorous triangles while Austin’s musical scene runs in the background. After that, the themes run: the theme of return, seduction, betrayal, jealousy, unhappiness, rock ‘n’ roll, the contrast between real and fiction, and existential questions like “who are we? “.
It seems that Malick has come to a point in his life when the return to the family home, his land and to nature, offer him a new self-awareness.
Despite the critical not being positive, the film in Italy has already raised 175 thousand euros to the box office, in just ten days. Nothing bad in a pre-summer period like this.
But Malick will have to do more to stay up to his past.

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