IMDb >
The New World (2005)
Watch It
Buy it at Amazon
Rent it at Blockbuster.com
Discuss in Boards More at IMDb Pro Add to My Movies Update Data
BETA
Discuss in Boards More at IMDb Pro Add to My Movies Update Data
Quicklinks
Top Links
trailers and videosfull cast and crewtriviaofficial sitesmemorable quotesOverview
main detailscombined detailsfull cast and crewcompany creditstv scheduleAwards & Reviews
user commentsexternal reviewsnewsgroup reviewsawardsuser ratingsparents guiderecommendationsmessage boardPlot & Quotes
plot summarysynopsisplot keywordsAmazon.com summarymemorable quotesFun Stuff
triviagoofssoundtrack listingcrazy creditsalternate versionsmovie connectionsFAQOther Info
merchandising linksbox office/businessrelease datesfilming locationstechnical specslaserdisc detailsDVD detailsliterature listingsNewsDeskPromotional
taglines trailers and videos posters photo galleryExternal Links
showtimesofficial sitesmiscellaneousphotographssound clipsvideo clipsThe New World (2005) More at IMDbPro »
| Photos (see all 32 | slideshow) | Videos (see all 11) |
          |
|
Overview
User Rating:
Director:
Writer (WGA):
Terrence Malick (written by)
Release Date:
20 January 2006 (USA)
more
Tagline:
Once discovered, it was changed forever
Plot:
A drama about explorer John Smith and the clash between Native Americans and English settlers in the 17th century. full summary | full synopsis
Awards:
Nominated for Oscar.
Another 4 wins
&
11 nominations
more
NewsDesk:
(66 articles)
Birthday Suits, Well Directed
(From FilmExperience. 30 November 2009, 6:05 AM, PST)
Terrence Malick: The Reluctant Auteur
(From t5m.com. 24 November 2009, 4:02 AM, PST)
(From FilmExperience. 30 November 2009, 6:05 AM, PST)
Terrence Malick: The Reluctant Auteur
(From t5m.com. 24 November 2009, 4:02 AM, PST)
User Comments:
a deep artistic pleasure
more (603 total)
Cast
(Cast overview, first billed only) | Colin Farrell | ... | Captain Smith |
 | Q'orianka Kilcher | ... | Pocahontas |
 | Christopher Plummer | ... | Captain Newport |
 | Christian Bale | ... | John Rolfe |
| August Schellenberg | ... | Powhatan |
 | Wes Studi | ... | Opechancanough |
 | David Thewlis | ... | Wingfield |
| Yorick van Wageningen | ... | Captain Argall |
 | Raoul Trujillo | ... | Tomocomo |
 | Michael Greyeyes | ... | Rupwew |
 | Kalani Queypo | ... | Parahunt |
 | Ben Mendelsohn | ... | Ben |
 | Noah Taylor | ... | Selway |
 | Brian F. O'Byrne | ... | Lewes |
 | Ben Chaplin | ... | Robinson |
Additional Details
MPAA:
Rated PG-13 for some intense battle sequences.
Parents Guide:
Runtime:
135 min | 172 min (extended cut) | USA:150 min (original cut)
Color:
Aspect Ratio:
2.35 : 1 more
Sound Mix:
Certification:
USA:PG-13 |
Ireland:12A |
UK:12A |
Netherlands:12 |
Finland:K-11 |
Switzerland:10 (canton of Vaud) |
Switzerland:10 (canton of Geneva) |
Singapore:PG |
France:U |
Germany:12 |
Sweden:11 |
Malaysia:U |
Hong Kong:IIA |
Brazil:12 |
Iceland:12 |
Norway:11 |
Argentina:Atp |
Portugal:M/12 |
Canada:PG |
Australia:M |
Italy:T |
Peru:PT
Filming Locations:
Company:
Fun Stuff
Trivia:
Before the start of the shoot, director Terrence Malick and cinematographer Emmanuel Lubezki devised a series of photography rules that were to be used during filming. They were: - 1) No artificial lights. All is shot in natural light. - 2) No crane or dolly shots, just handheld or Steadicam shots. - 3) Everything is shot in the subjective view. - 4) All shots must be 'deep-focus shots', that is everything (foreground and background) is visible and focused. - 5) You (the camera crew) are encouraged to go and shoot unexpected things that might happen in accident or if your instinct tells you so. - 6) Selective shots: any shot that does not have visual strength is not used.
more
Goofs:
Crew or equipment visible: After the Powhatans flee their village as the settlers burn the huts, two smoke canisters can be seen to the right of the shot as the camera moves over an empty field.
more
Movie Connections:
Featured in "HBO First Look: The New World (#13.1)" (2006)
more
Soundtrack:
Kihshahkuyew Nupuy
more
FAQ
What kind of duck appeared in the montage with Pocahontas and her son?MUSIC: Why are some pieces of score in the movie not on the soundtrack?
Does director Terrence Malick appear in the "Making of" feature?
more
more (603 total)
Message Boards
Discuss this movie with other users on IMDb message board for The New World (2005) moreRecommendations
If you enjoyed this title, our database also recommends:
Show more recommendations
|
|
|
|
|
| Soldier Blue | Andrey Rublyov | Mountains of the Moon | Squanto: A Warrior's Tale | Gone with the Wind |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
Related Links
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
| Add this title to MyMovies |
The New World
reviewed by Sam Osborn rating: 3.5 out of 4
Filing out of The New World, completely speechless and without notes, I could fathom only single adjectives to describe the experience. Looking at these listed words on my memo-pad now, they read "Thunderous, True, Beautiful, Solemn, Forceful, Gripping, Honest, and Slow." And for those who watch The New World with a calm countenance, an open mind and a ready cache of patience, Terrence Malick's long-awaited picture will have a similar effect. The film is a masterpiece thirty years in the making.
His goal is plain enough: to affectively and honestly portray the love Pocahontas experienced in those first years that Europeans cut their first, fresh swath from the New World. But Malick goes far beyond a simplistic love story. I was at the screening for Casanova a few days earlier, where the film's objective was essentially the same: to portray the love between Casanova and Francesca in the days of Inquisition Venice. But where Casanova approaches love at a bubbly, comedic perspective, The New World throws itself into a headlong narration of love's sorrow. Every frame of The New World reflects this painful, aching emotion, utilizing the sounds and images of environment to incredible, innovative effect. The first shot of the film--an extended shot several minutes in length--finds the camera staring into a river. It's clear and pristine, carefree and surrounded by the blissful sounds of an unperturbed forest. Soon ripples begin forming, and we notice the quiet droplets of rain pit-pattering around us, causing the water to flow a little, bringing about a contented onslaught of lily pedals. The scene continues on, drawing us farther and farther into Malick's deafening reality with only the sounds and images of nature. He creates a calm within us with these images, a kind of serene canvas for him to later paint the vivid brush-strokes of human love later in the film. In this entire first act, little is even said. But these scenes rarely grow tiring. He finds rich beauty with every situation. His forest is lush and his settlements picturesquely Dickensian. Malick shows great and rare confidence with this picture. Few filmmakers would have the cool audacity to create a film so primarily reliant on nothing being said.
The first and most important of Pocahontas' (Q'Orianka Kilcher) romances is with the infamous John Smith (Colin Farrell). He's brought to the New World bound in a cage, punished for earlier mutiny. But because he's the only soldier of the expedition, Captain Newport (Christopher Plummer) opts to let him free on a strict probation. Their first encounters with the Naturals, as they're called, go coolly enough, with curious interest from the Naturals and tense hesitation from the settlers. And even here Malick plays with flights of romantic whimsy. These scenes of first encounter are shot in windswept, overgrown grassy fields, with Pocahontas dancing and twirling about them with her brother, catching the spry interest of Smith.
Soon the settlers hear of a great city of Naturals down the river, and Smith is sent to investigate. Things have been going badly for the settlers and Captain Newport has left back for London and a new store of food and supplies. Smith's expedition is cut short, however, when he runs into a narrow, maze-like complex of swamps and is ambushed by warrior Naturals. He's taken prisoner by the Naturals, but granted life because of Pocahontas' curious interest and her favoritism with Chief Powhatan (August Schellenberg). This catalyzes our entrance into The New World's most prominent territory. The scenes of Smith's time with the Naturals are Malick's best. They're those first strokes of paint on his canvas and the seeds of that palpable, historical romance.
But admittedly, even with The New World's supreme sense of confidence and slow-moving progression, it sometimes wanders into the realm of self-indulgence. It especially grows tiresome in the final act, when we're brought from Virginia to London, our beloved Smith left behind to be replaced by John Rolfe (Christian Bale) and his stonewall courting of Pocahontas. I'd even venture to say that Malick could have left 30 minutes of these segments on the editing room floor, re-attaching them later to the Extended Cut DVD release that's sure to come. But movie-going patience is the mantra of the Awards season, and so some bottom-dragging in films is what's to be expected.
What was not to be expected, however, was Q'Orianka Kilcher, the debuting actress playing Pocahontas. Few words she says, but dialogue is not always what makes a forceful performance. Her body language and expressions are allowed to do the speaking for her. She's advantaged also by her strong, muscular features that often betray hints of divine femininity. Farrell also does well, particularly in his somber narration. He reads it as though he speaks the words to himself, whispering them almost, for only his imagination to hear. But his physicality is manipulated nicely as well, exuding bubbly chemistry for Kilcher. The two mix ideally. Their sorrow and love and deeply resonated emotions are echoed about with their strong performances and Malick's supreme direction. And although Christian Bale strides into picture in the latter parts of the film, our hearts lie with Smith and Pocahontas, and we find ourselves resentful of Rolfe's advances. But this is just Malick's narrative trickery. We find ourselves raggedly torn between these two equally honorable men, and put almost into the same position as Pocahontas. It's precisely the reason we go to the movies. We've let the director take his grip on us and lead us down the path into characters and identities of his own creation. And with Malick leading our way, and with characters as tastefully dimensional as these, movie-going becomes a deep artistic pleasure.