It begins at the Wonder, La Merveille, Mont-Saint-Michel in France to be exact, with Neil and Marina at an early edge of love, leap or let go is the question. She cavorts along the coast as the tide swells and he, as implacable as the sea, follows; whether entranced or temporarily entrapped in her orbit we hardly know. They leave the Wonder, and Marina, with her daughter from a former husband, travels to America, to the heartland to see if their love grows.
The culture has failed Terrence Malick. All of his films, but particularly Tree of Life and To the Wonder, are cut from the cloth of Christendom, both its scripture and traditions. There’s a liturgy to his films; cinematography as psalm, narration as prayer, and critics can sense the richness, but rarely can they taste it unless those same rhythms are their own. The trouble is that where Tree of Life strained the secular imagination, To the Wonder tramples and twirls upon its grave.
Apart from the vocabulary and iconography of Christianity, To the Wonder can only be pretentious, vapid and a portentous self-parody. To an outsider the connection between a husband and wife and a priest and his parish might seem tenuous and arbitrary, but to the believer it is Christ and his body, the second Adam and his Eve. (more…)