Better to suffer injustice than to do it.
Better to suffer injustice than to do it
Josiah Garcia
Luke Bailey
Traitor
Jeremiah Rogers
Terrance "Kino" Malick
Dylan Lopez
Traitor propaganda.
Benjamin Taylor
Fucking coward
Benjamin Peterson
Direct action>peaceful protest
Jordan Stewart
Umm does anyone else think the nazis were bad?
Tyler Rogers
everyone does except edgy teens on Yas Forums and retarded white trash
Ian Gonzalez
Holy Shit Malick wants to be Nolan so bad
Elijah Williams
I'd have to check
Aaron Wilson
Has Malick lost the plot?
Alexander Rodriguez
I love how captain priest told him to fuck off.
Gavin Williams
it's shit
Juan Ward
he's rich, he can afford to fantasize about doing the jesus thing seriously.
William Howard
wow really?
Blake Collins
>Terrence Malick’s A Hidden Life is the wrong film for this moment in social history. The steadfast Christian goodness that Malick observes in the prelapsarian life of Franz Jägerstätter (August Diehl), a German pacifist caught between world wars, is mocked by today’s ruthless public figures who assert false righteousness, claiming to “pray” for individuals they assail, and professing religious belief even as they offend the tenets of that doctrine and support fashionable forms of sacrilege.
>It would be ideal to announce that Malick’s movie transports us to a different era before these treacheries occurred — or that the period story of Franz’s travails showed his/our suffering in a clarifying light and gave hope. Franz, his wife Fani (Valerie Pachner), and their towhead daughters are simple, devout people, close to the earth until the Third Reich jolts their peace and the film becomes All Quiet on the Western Front 2.0. Franz is jailed, then executed for refusing to fight another war.
>But how can A Hidden Life instruct us when it shares the culture’s current confusions? (Is this ode to pacifism left over from Malick’s Vietnam-era ideas?) Malick demonstrates the same interplay of banal citizenship and banal spirituality that blurs straight thinking and stymies good faith today. No wonder secular critics love it.
>Whether or not A Hidden Life was conceived in response to the current madness, the conditions under which a serious American artist must now operate (conforming to the dictates of the crudest, insensible production codes put in place by Titanic, Lord of the Rings, the Marvel franchise, HBO, and Netflix) make it nearly impossible to overcome the culture’s moral and intellectual breakdown.
Levi Gomez
"no!"
Colton Fisher
Based and hellofellowmilitiamenpilled.
Brody Gomez
>A Hidden Life is lofty and bloated, like The Irishman, its sin-celebrating counterpart. Malick’s three-hour narrative is too long and repetitive to communicate as a work of popular culture should, and as some of his previous films — especially The Thin Red Line and The New World — used to, even without topical relevance.
>Scenes of bucolic farm life, townfolk vulgarity, then politics-invading-Eden suggest a twisting, solipsistic vortex; Malick spins his same limpid nature photography and voiceover contemplation that always express agape, wonder, supplication, and invocation. Yet these mannerisms — rituals — fumble the film’s issues: Franz reproves “improvised fanaticism” among those who follow the Nazi drumbeat, but isn’t his own pacifism fanatical? Mel Gibson dramatized this dilemma better in Hacksaw Ridge. Malick’s pattern of interpolating the story with abstract, devout ruminations has the effect of turning prayers into rhetoric. Franz prosaically asking “Is this the end of the world, the death of the light?” feels less trenchant than Wim Wenders’s sci-fi, metaphysical contemplation in Until the End of the World.
>Whatever personal intellectual process is expressed by editing color home-movie footage of Adolf Hitler into Malick’s buoyant steadicam études doesn’t come through; recorded history juxtaposed to imaginative history seems like a stunt rather than a shock of contrasting realities.
>Despite his cult status, Malick is not constantly discovering new means of cinematic storytelling. His methods are sometimes laughably familiar — especially in this “second wind” phase of his career and the rush of rough-draft material edited in the mode of poetic observation/introspection.
Jason Cooper
yeah I didn't like it. Visually dull and not thought provoking.
John Ramirez
The church tells him to go fuck himself and then 60 years later the very same church pronounces him saint.
Samuel Miller
Maybe it's better for your soul, but those are not the only 2 options. False dichotomy propaganda.
Brownie here, no they weren't, the jews are worse. At worst the nazis were useful idiots of the jews, at best they were liberators of their people.
At their worst, they would've still been more beneficial for the world than the jews have been.
Kevin Howard
WHY DO THEY ALWAYS PORTRAY NAZIS IN BAD LIGHT? MAKES ME SO FUCKING ANGRY
JUST ONCE HAVE A MOVIE ABOUT NIGGERS OR ARABS ABOUT THEM HACKING EACH OTHER TO BITS, BOILING PEOPLE ALIVE, FUCKING CHILDREN, OR DECAPITATING TOURISTS. AND DON'T HAVE IT DUIRNG A WAR EITHER, MAKE IT AN EVERYDAY OCCURENCE ABOUT HOW THEIR SHIT CULTURE EVENTUALLY DETERIORATE THE ENTIRE SOCIETY WHITE PEOPLE HAVE BUILT.
Dylan Williams
>It’s unfortunate that Malick resolved his creative block during Hollywood’s leadership crisis, an era without dramaturges or artist-producers who could help shape and refine his exquisite explorations — those truly inspired images and vibrant sound details such as a cut from mountain peaks to cathedral arches that is worthy of Leni Riefenstahl.
>But when Malick’s exalted panoramas are mixed with lines such as “Better to suffer injustice than to do it,” or “Don’t they know evil when they see it?,” all that implied sophistication seems trite.
>Among the struggling believers Franz encounters are artists who testify “We create sympathy,” “Someday I’ll paint a true Christ.” Much as they represent Malick’s own agenda, Sweden’s nature-poet Jan Troell already achieved everything Malick attempts here, especially in Hamsun (1987), about Knut Hamsun, author of The Growth of the Soil, whose ambiguous artistic and political beliefs were more troubling and fascinating than Franz’s martyrdom.
>The attempt to film a person’s inner life comes from George Eliot’s Middlemarch, quoted in Malick’s epigraph. Owing to his unstructured filmmaking, A Hidden Life expands almost intolerably, as if it were a literal adaptation of Eliot’s ideas about “the varying experiments of Time . . . human hearts already beating to a national idea; until domestic reality met them . . . passionate, ideal nature demanded an epic life.”
>These days, godless Hollywood stretches even the mangiest movie to “an epic life.” Malick’s lofty try for a new Middlemarch doesn’t work for an era estranged from the spiritual and artistic ambitions that Middlemarch represents and defiled by heretical politicians. Scorsese’s The Irishman also defiles those ambitions, and A Hidden Life is so detached from our spiritual and political needs that it feels similarly useless.
Robert Jones
Peaceful protest makes the aggressor seethe more.
Grayson Cox
It doesn't accomplish a goddamn thing unless it also involves stopping the flow of production and money
Dylan Price
he's right you know
Adrian Harris
who are you quoting?
Xavier Gray
the guy sounds like he's got agenda
Jack Anderson
unlike this movie, there's more to life than duelling narratives
Adam Long
Yeah there's pretty pictures and moral bromides worthy of a place on the walls of a white girl's home
Bentley Rodriguez
This is a deleted scene from the beginning of the rogue one star war? Very touching should have put it in
James Roberts
>unlike this movie
You haven't even seen it, not every Nazi in the movie was depicted as a frothing at the mouth goose stepper
Parker Lewis
Why did Malick cast the Yas Forumsfag who couldn't even get through a synagogue's door?
Michael Murphy
I have seen it. I wasn't talking about the nazis. Them being one dimensional villains (which they were) wasn't the problem. The flat protagonists were.
Xavier Sullivan
>even as they offend the tenets of that doctrine and support fashionable forms of sacrilege.
That's rich coming from a faggot who claims to be a Christian
Ryder Young
Based take
Justin Nguyen
>Them being one dimensional villain
How were they one dimensional?
>The flat protagonists were.
What was flat about them?
Evan King
No it isn't.
Ethan Ward
The King of Yas Forums
Nicholas Stewart
The nazis were one dimensional villains whose only sign of humanity was empathizing with a white aryan, deeply christian man. No shit!
The protagonists were one dimensional because he chose to be a martyr, then never questioned that decision, while she spent the whole movie agonizing over his decision but never did anything about it. They should have been one character.
Jack Ortiz
based retard