Days of Heaven (1978)

Calificación de los usuarios:

8.0/10   

Director:

Terrence Malick

Guionista:

Terrence Malick (written by)

Fecha de Lanzamiento:

13 septiembre 1978 (USA)

Género:

Drama | Romance

Frase comercial:

Your eyes... Your ears... Your senses... will be overwhelmed.

Plot:

A hot-tempered farm laborer convinces the woman he loves to marry their rich but dying boss so that they can have a claim to his fortune.

Plot Keywords:

Farmer | Love | Farm | Harvest | Wedding

Premios:

Won Oscar. Another 10 wins & 8 nominations

Comentarios de los usuarios:

Healing and Cathartic

Reparto

Richard Gere	...	Bill
Brooke Adams	...	Abby
Sam Shepard	...	The Farmer
Linda Manz	...	Linda
Robert J. Wilke	...	The Farm Foreman (as Robert Wilke)
Jackie Shultis	...	Linda's Friend
Stuart Margolin	...	Mill Foreman
Timothy Scott	...	Harvest Hand (as Tim Scott)
Gene Bell	...	Dancer
Doug Kershaw	...	Fiddler
Richard Libertini	...	Vaudeville Leader
Frenchie Lemond	...	Vaudeville Wrestler
Sahbra Markus	...	Vaudeville Dancer
Bob Wilson	...	Accountant
Muriel Jolliffe	...	Headmistress
John Wilkinson	...	Preacher
King Cole	...	Farm Worker

Dirigida por
Terrence Malick

Créditos del guión
Terrence Malick		(written by)

Producida por
Jacob Brackman	....	executive producer
Bert Schneider	....	producer
Harold Schneider	....	producer

Música original por
Ennio Morricone

Fotografía por
Néstor Almendros		(as Nestor Almendros)

Montaje por
Billy Weber

Casting
Dianne Crittenden

Dirección artística
Jack Fisk

Decorados
Robert Gould

Diseño de vestuario por
Patricia Norris
Jerry R. Allen		(uncredited)

Departamento de maquillaje
Jamie Brown	....	makeup artist
Bertine Taylor	....	hair stylist

Dirección de producción
Coulter Adams	....	second unit manager
Les Kimber	....	production manager

Ayudante de dirección
Jacob Brackman	....	second unit director
Skip Cosper	....	first assistant director
Rob Lockwood	....	second assistant director
Martin Walters	....	second assistant director

Departamento de Arte
Johnny Lattanzio	....	painter (as John Lattanzio)
Alan Levine	....	property master (as Allan Levine)
Barry Merrells	....	assistant propmaster

Departamento de sonido
Philip Boole	....	stereo sound consultant: Dolby
Robert Burton	....	special audio assistant
Allen Byers	....	special audio assistant
Charles L. Campbell	....	sound effects editor (as Charles Campbell)
James Cox	....	special sound effects
Peter Gregory	....	sound crew: Glen Glenn
Louis Hogue	....	boom operator
Stephen Katz	....	stereo sound consultant: Dolby (as Steve Katz)
Glen Lambert	....	boom operator
Jean Marler	....	sound crew: Glen Glenn
Clyde McKinney	....	stereo sound consultant: Dolby
Colin C. Mouat	....	sound effects editor (as Colin Mouat)
John T. Reitz	....	sound effects mixer (as John Reitz)
George Ronconi	....	sound mixer
Alan Splet	....	special audio assistant
Robert Thirlwell	....	sound crew: Glen Glenn
Barry Thomas	....	sound mixer
Joe Wachter	....	sound crew: Glen Glenn
John Wilkinson	....	sound re-recording mixer
Sharron Miller	....	sound editor (uncredited)

Efectos especiales
Mel Merrells	....	special effects
John Thomas	....	special effects

Especialistas
Erin Talbott	....	stunt flyer
Joe Watts	....	stunt flyer

Cámara y Departamento Eléctrico
John Bailey	....	camera operator
Edie Baskin	....	special still photographer
Edie Baskin	....	title photographer
James F. Boyle	....	gaffer (as James Boyle)
Robert Eber	....	special assistant camera (as Bob Eber)
Chansonetta Emmons	....	title photographer
Bruno Engler	....	still photographer
Henry Hamilton Bennett	....	title photographer
Clyde Hart	....	key grip
Lewis Hine	....	title photographer
Frances Benjamin Johnston	....	title photographer
Malcolm Kendall	....	best boy
Frank Merrells	....	dolly grip
Ken Middleham	....	time-lapse photographer
William Notman	....	title photographer
Rod Parkhurst	....	camera operator
Kent Remington	....	special assistant camera
Paul Ryan	....	photographer: second unit
Haskell Wexler	....	additional photographer
Andrew D. Wilson	....	electrician (as Andy Wilson)
Eric Van Haren Noman	....	panaglide operator (uncredited)

Departamento de reparto
Terry Bolo	....	casting assistant
Barbara Claman	....	casting assistant
Gino Havens	....	casting assistant (as Geno Havens)
Judith Lamb	....	casting assistant (as Judy Lamb)
Karen Rea	....	casting assistant (as Karen Grossman)
Elinor Renfield	....	casting assistant

Departamento de vestuario
Jered Green	....	wardrobe: men

Departamento de Edición
Caroline Biggerstaff	....	additional editor (as Caroline Ferriol)
Roberta Friedman	....	assistant editor
Tikki Goldberg	....	editorial consultant
Dessie Markovsky	....	editorial consultant (as Dessy Markovski)
Susan Martin	....	additional editor
Bob McMillian	....	color consultant
Barbara Morrison	....	negative cutter
Jeffrey Schneider	....	editorial consultant
Marion Segal	....	additional editor
George Trirogoff	....	assistant editor

Departamento de Música
Gabriella Belloni	....	music coordinator
Denny Bruce	....	music coordinator
Daniel Allan Carlin	....	music editor (as Dan Carlin Jr.)
Enrico DeMelis	....	music coordinator
Sandro Fois	....	music recording engineer
Robert W. Glass Jr.	....	music mixer (as Robert Glass Jr.)
John Iles	....	music recording engineer
Leo Kottke	....	composer: additional music
Sergio Marcotulli	....	music recording engineer
Ennio Morricone	....	conductor
Ted Roberts	....	music editor
Rick Smith	....	musician: harmonica

Departamento de Transporte
John Brumby	....	driver
Don Nablo	....	transportation captain

Otros miembros del equipo
Blue André	....	executive assistant: Bert Schneider (as Blue Andre)
Wally Bennett	....	script supervisor
Peter Broderick	....	special assistant to director
Michael Burns	....	assistant to producer
John Chesko	....	assistant to producer
Leslie Cox	....	assistant to producer
Joe Dodds	....	wrangler
Reg Glass	....	wrangler
Michie Gleason	....	assistant to producer
Dixie Gray	....	wrangler
Edward Hill	....	senior accountant
Nancy Coan Kaclik	....	special assistant to director (as Nancy Kaclik)
Chet Luton	....	supervising engineer: MGM
Irene Malick	....	researcher
Heather McIntosh	....	location accountant
Isabella Miller	....	wrangler
Peter Neufeld	....	researcher
Clenton Owensby	....	technical advisor
Dan Perri	....	title designer
Rosalia Purdum	....	researcher
John Scott	....	wrangler
Nathalie Seaver	....	researcher
Michelle Shapiro	....	production secretary
Marilyn Tasso	....	production secretary
Susan Vermazen	....	researcher
Bob Wilson	....	wrangler

Gracias
Chris	....	dedicatee
Dauna	....	dedicatee
Deborah Eisenberg	....	special thanks
Redd Foxx	....	special thanks
Jill Jakes	....	special thanks
Joseph D. Kelly	....	special thanks (as Joe Kelly)
Tom Kobayashi	....	special thanks
Stuart Margolin	....	special thanks
Roger Mayer	....	special thanks
Patrick Norris	....	special thanks
Gordon Radley	....	special thanks
Bob Rafelson	....	special thanks
Greta Ronningen	....	special thanks
Walter Rosenblum	....	photos courtesy of
Wallace Shawn	....	special thanks
Susan	....	dedicatee
Ian Underwood	....	special thanks
Wallace Wolf	....	special thanks

Compañías Productores

• Paramount Pictures

Distribuidores

• Paramount Pictures (1978) (USA) (theatrical)
• Cinéma International Corporation (CIC) (1979) (France) (theatrical)
• Cinema Internazional Corporation (1979) (West Germany) (theatrical)
• Cinema International Corporation (CIC) (1979) (Netherlands) (theatrical)
• Cinéma International Corporation (CIC) (1979) (Sweden) (theatrical)
• Paramount Home Entertainment (2002) (Brazil) (DVD)
• Criterion Collection, The (2007) (USA) (DVD)

Otras Compañías

• Syntonic Reserach Inc.  special environmental sound recording
• Neiman-Tillar Associates  sound effects
• Get Set  set construction (as Get Set)
• Overdrive Music  used by permission of: "Enderlin"
• American Society of Composers, Authors and Publishers (ASCAP)  used by permission of: "Endrlin" (as A.S.C.A.P.)
• Tree Pubshing Co.  used by permission of: "Swamp Dance"
• Broadcast Music Inc. (BMI)  used by permission of: "Swamp Dance" (as B.M.I)
• Wiener Philharmoniker  music performed by: "Carnival of the Animals-The Aguarium" (as the Vienna Philharmonic Orchestra)
• Polydor International  used by permission of: "Carnival of the Animals-The Aguarium" (as Polydor International GmbH)
• Library of Congress  courtesy of
• Chicago Historical Society  courtesy of
• New York Public Library  courtesy of
• International Museum of Photography  courtesy of (as International Museum of Photography - George Eastman House)
• Metropolitan Museum of Art  courtesy of
• Ewing Galloway Archives  courtesy of (as Ewing Galloway)
• Bennett Studios  courtesy of (as H.H. Bennett Studios)
• Culver Pictures  courtesy of
• FPG Photoworld  courtesy of
• FPC Inc.  courtesy of
• Metrocolor  prints
• Panavision  lenses and panaflex camera
• Glen Glenn Sound  sound re-recording
• Lethbridge Hutterite Communities  special thanks

También conocida como:

Días de gloria (Argentina) [es]
Días del cielo (Spain) [es]

Duración:

94 min

País:

USA

Idioma:

Inglés | Italiano

Color:

Color (Metrocolor)

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby (35 mm prints) | 70 mm 6-Track (70 mm prints)

Clasificación:

Canada:PG (Ontario) | Iceland:12 | Netherlands:16 | Australia:PG | Brazil:12 | Sweden:15 | USA:PG (certificate #25199) | Argentina:13 | Finland:K-16 | Spain:18 | UK:PG | West Germany:12 | Portugal:M/12

Locaciones de Filmación:

Raymond, Alberta, Canada

Compañía:

Paramount Pictures

Trivialidades:

Cinematographer Néstor Almendros was going blind during production. Before each shot, he would have his assistant take a picture with a Polaroid camera and then would view it under a high-powered magnifying glass.

Errores:

Errores que Revelan: The Texas flag is displayed upside down.

Citas:

Linda: I've been thinking what to do wit' my future. I could be a mud doctor. Checkin' out the eart'. Underneat'.

Conexiones de Película:

Referenced in Cinematographer Style (2006)

Banda de Sonido:

Enderlin

Healing and Cathartic

Oh, I better come out and say it: I love Terrence Malick. I think he's one of the few filmmakers who has completely and utterly captured filmic form. "The Thin Red Line" was, to me, an astonishing experience; beautiful, horrific and the best movie of the 90s. "Badlands" is the best lovers-on-the-lam movie I've ever seen (it certainly makes "True Romance" look like a gimmicky fraud of a movie). Malick somehow manages to make everything seem painfully beautiful: his landscape, his actors, his dialogue. There's something always elegiac about his movies.

There's a picture of James Dean I saw from his youth -- a baseball team photo -- and the caption said something about how it captured his face, and in it, wisdom and sadness far beyond his years. That's what Malick does in his films and particularly in this film.

He must have been a fan of James Dean (probably one of the reasons he chose to make "Badlands," as a sort of homage), but not in the sense that coolness comes from a perfectly combed coiffure, a red leather jacket (which it wasn't -- it was a windbreaker) and a dark brood. There's a similar story here to that of "Giant," set on a farm with that remarkable house, two men and one girl. Only "Giant" didn't have a philosophizing and very strange little girl. It was also an overblown soap opera and while this film is, I guess, a melodrama, it certainly isn't melodramatic.

If Malick is anyone in the film, he's Sam Shapard; watching his love through a lens. Malick uses Manz as a sort of channel. If this is indeed some fashion of his own story, Malick tells us through her, with he visualized by Shepard, which is a somewhat brilliant approach. Manz is strangely philosophical; at once blunt and abstract. The story is obviously centered around her -- I don't see why this wouldn't be obvious -- but she's pushed into the background, commenting on the characters and informing us like God from above.

As always with Malick, his film is mesmerizing and hypnotic. I was surprised that the film was only a little over an hour-and-a-half. The great Ennio Morricone created a wonderful score for this film that seems to forebode impending doom. Unlike his more famous spaghetti western scores, it's never overly-flamboyant. And the cinematography, listed as belonging to Nestor Almendros, but well-known to be at least substantially contributed to by Haskell Wexler, is so much like an oil painting that it's just about liquid film. I'd be willing to pay a lot of money to see this one on the big screen.

It might seem obvious to state that this film is a transition between "Badlands" and "The Thin Red Line," after all it was the middle film. But this film has moments, especially in the finale, that are surprisingly close to that of "Badlands" and this is the film where Malick fully mastered his approach of lush, visual poetry told at a languid pace that never seems boring, since you're fully within the film;s grasp.

Pauline Kael said in her review that "the film is an empty Christmas tree: you can hang all your dumb metaphors on it." And Charles Taylor, always following Kael's lead (even from beyond the grave), said of Malick's two 1970s films, "Next to the work of Altman, Scorsese, Coppola, De Palma and Mazursky from that period, they're pallid jokes."

What never fails to get me furious is when someone viciously attacks a director, like Malick, for being self-indulgent. Of course it's self-indulgent, he's telling a story that means something to him and trying to share what he feels with us. Malick certainly isn't trying to alienate people, and if you are alienated by his films, well, don't watch them. Malick is a filmmaker like Kubrick, but more fluid and much less abrasive. I mean, if you're going to aggressively attack a filmmaker, aggressively attack someone who is aggressive on his side. Directors like Malick use abstractions to engage their audiences more fully than most. By leaving things -- often feelings -- open to interpretation, the film becomes more intimate.

Certainly one of the most enduring films from the 70s, this is a masterwork.

****