Nov 162015
 

knight_of_cups2

The Knight of Cups is a dreamer. He is amiable, but easily bored. Artistic and refined, yet in constant need of stimulation. The Knight here is Rick (Christian Bale) a successful, yet unfulfilled player in the movie business. He does not know what he seeks, but whatever it is, he’s having a hard time finding it. Knight of Cups is reviewed after the jump.

Rick is drifting through life. Unable to form proper emotional connections with people, especially women, he finds himself without an anchor, purposeless. He has a strained relationship with his larger than life Father (Brian Dennehy); he loves his troubled younger brother (Wes Bently); and grieves for the brother that no longer lives. There are many women, but few real connections. One woman (played by Imogen Poot) says of Rick, “you don’t want love, you want a love experience”.

His real solace is nature. Nature is true and honest and does not deceive. Natural beauty cannot be replicated, although Hollywood and the wealthy inhabitants of Los Angeles try their best to do so. There is only so much pleasure manufactured beauty and opulence can give him, for ultimately he knows it is hollow. Whenever he can he escapes. He walks through the desert, swims in the ocean, stares at the horizon through the windows of whatever man-made prison he is in.

But Knight of Cups isn’t entirely about Rick; he’s the vessel we experience the world through and his inner demons represent more than just one man. This film is about Los Angeles, it is a poem, a love story, a breakup letter to the beautiful, but punishing city. The film starts with the city fighting – an earthquake rocks the land, and the city reminds its inhabitants that they are there at its mercy. From the beaches to the desert, the strip malls to the Hollywood Hills; and the preened acting élite to those living on the streets – this is a film about all of them.

The people in this film don’t talk much, but when they do it is about either nothing of substance, or the most profound topics imaginable. There isn’t anything in between here, much like there isn’t anything in between in LA. You have it (or are working towards it), or you don’t. The city, especially the Hollywood, is not forgiving of those unable or unwilling to participate in its games.

Malick is all about the internal conflict here (even more so than with Tree of Life and To The Wonder), there is very little dialogue and when there is, it’s not exactly full conversations. It’s not the dialogue that tells the story here, it’s the camera. Emmanuel Lubezki (Birdman, Gravity, Children of Men). I didn’t think I could love Lubezki more than I already did, but I was wrong.

The fluidity with which he shoots this film is astounding. He doesn’t seem to be restricted by equipment, nor is he hindered by being free. In some of the most stunning scenes the camera moves as if it were the wind, the sea, the heartbeat. Waves roll into the beach and the camera goes under water and comes up again. I held my breath, I felt like I was submerged. In the aforementioned earthquake scene, the shot is if it is from the perspective of the earth itself, watching the pathetic and helpless people stumble and fall.

The light is another distinguishing feature of this film, with many scenes shot during sunrise and sunset. The desert is particularly beautiful, with the contrast between the stark, dry landscape and the deep blues of the sky simply stunning. Lubezki shot the film on 35mm, 65mm and various forms of digital. The result is a film that is rich and textured.

Regular Malick composer, New Zealander Hanan Townshend scores again, with a subtle, yet effective score.

It was good to see Christian Bale out of the Batsuit and putting his talents to good use. While he has little to say, he conveys a lot through his body language and facial expressions. The list of female actors on this film is longer than it probably should be, but I particularly liked Cate Blanchett and Imogen Poots, the latter almost unrecognisable as a brunette with extremely thick black eyeliner. While there is no doubt that the women are treated as sexual objects in moments of this film, Lubzeki just as often films them in such a gentle way, emphasising their beauty, but not in a leering manner. Nudity doesn’t always equal sex.

Knight of Cups is LA porn and Lubezki is the king – excess, wealth, emptiness and beauty. That’s my take on Knight of Cups, but who knows if that’s anything near what Malick intended it to be. All I know is images from this film will dancing through my head for some time to come.
 
By Sam McCosh
 

The Facts

Director: Terrence Malick
Writer(s): Terrence Malick
Starring: Christian Bale, Teresa Palmer, Natalie Portman, Cate Blanchett, Imogen Poots, Wes Bentley
Runtime: 118 minutes
Release date(s): Australia: November 12 2015