I can’t think of
a way to discuss David Lowery’s Ain’t
Them Bodies Saints without simultaneously addressing the career of Terrance
Malick, and that’s somewhat disappointing on many levels. In some ways this is
a poetic style of filmmaking which comes down to preference, though there are
also issues of originality.
On one hand, Ain’t Them Bodies Saints is more
reminiscent of early Malick in terms of story with the visuals of some of his
later work, making for a more cohesive viewing experience than a film like To the Wonder. On the other hand, like
much of Malick’s recent work, Ain’t Them
Bodies Saints makes me long for the films it resembles more than enjoy I
actually enjoyed this one. Style is no issue for Lowery, but it often
overshadows what little narrative contained within his script.
Casting carries
this film where the narrative is no longer able, especially with minimalist
dialogue and a majority of the speeches done through voiceover and through
letters. This could have been a detriment to the film were the casting not so
spectacularly perfect, but nearly every role helps to elevate each scene beyond
the written words. The film follows three individuals involved in a shootout,
specifically focused on the aftermath years later. Bob Muldoon (Casey Affleck)
is arrested and sent to prison for 25 years after shooting an officer (Ben
Foster) during a shootout in the Texas hills in the 1970s, despite the fact
that the bullet came from the gun of his pregnant girlfriend, Ruth Guthrie
(Rooney Mara).
Much of the film
takes place about five years after this event. Ruth is raising their young
daughter when she hears the news that Bob has escaped from prison. He is on a
specific mission to get back to Ruth, though there seem to be an insurmountable
number of people determined to stop him. Keith Carradine is particularly
wonderful in a father-figure role for Ruth and her child. The only strange
inclusion in the storyline is a trio of killers also determined to find Bob, attempting
to bring more gunplay into an otherwise quiet film.
The Blu-ray
release includes a making-of documentary, as well as a behind-the-scenes
featurette. There are also deleted scenes and a music video, but none of this
is as impressive as the inclusion of Lowery’s first feature, St. Nick (2009). It is also worthwhile
to have this movie in high definition, capturing all of the beauty in some of
the overdone cinematography.
Entertainment Value:
7.5/10
Quality of
Filmmaking: 8/10
Historical Significance:
6/10
Disc Features: 10/10
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