The New World is a 2005 historical romantic drama film written and directed by Terrence Malick, depicting the founding of the Jamestown, Virginia, settlement and inspired by the historical figures Captain John Smith, Pocahontas of the Powhatan tribe, and Englishman John Rolfe. It is the fourth feature film written and directed by Malick.
THE NEW WORLD [EXTENDED CUT][2005]
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The film was originally set to be released in November 2005, but release had to be postponed. Malick was still editing the footage he had shot. He is well known for editing his films up until the last minute,[9] often trimming his films and leaving entire characters out of the final print, as is the case with The Thin Red Line. In early December, a 150-minute version was shown to critics for awards season consideration. It was released for a week from Christmas to New Year's Day in two theaters each in Los Angeles and New York to qualify for the Academy Awards.
On July 26, 2016, all three cuts were released on Blu-ray and DVD in the United States by The Criterion Collection with the 172-minute extended cut from a new 4K digital restoration supervised by cinematographer Emmanuel Lubezki and director Terrence Malick.[26]
It's expected that the typically exquisite cinematography featured in the films of Terrence Malick would be the central focus of a format like Blu-ray, and this disc does not disappoint. The 1080p/VC-1 transfer captures the stunning beauty on display with a distinct and refined effectiveness. Colors are vivid, whether they are in the stark light of day, or otherwise concealed in shadow. Exterior scenes (which comprise most of the film) are consistently even; whites are never washed or blown out, lending a truly authentic and naturalistic representation of the world that rests at the core of the film.
'The New World: Extended Cut' is some of Terence Malick's finest work. It stands as a signifier of both his past efforts and those to come; namely, the wildly lyrical and ponderous 'The Tree of Life,' which would continue the devolution of narrative structure that was largely reinserted into this extended cut. What makes The New World such a marvelous film, though, is unequivocally Malick. Here men encased in metal are nearly swallowed whole by blades of grass standing a head taller; minutes go by without a single word being spoken; hearts are broken, but continue to soldier on. The command of central allegory is some of the strongest Malick has displayed in his films, and for those open to seeing the romantic beauty of it, 'The New World: Extended Cut' is well worth three hours of your time.
As always, extended cut, although I should try to re-watch the First Cut or Theatrical cut to see if it tightens up the middle, which is probably the only issue I have with The New World. The final five minutes, a montage of the corporeal giving way to the spiritual, with souls departing, and bodies merging with nature, is an effortlessly transcendent moment. Malick makes it look easy, but the entire film carefully builds to the catharsis.
This is the opening shot of "The New World" (2005), Terrence Malick's dream-like interpretation of the founding of the Jamestown colony in Virginia. The film depicts the interactions between the English colonists and the Powhatan natives, and in particular the relationship between John Smith and Pocahontas, who speaks the film's opening words. As an opening shot, this image of placid river water is less spectacular than many of those that we have studied for Jim's project, but its simplicity is deceptive and it contains all of the qualities of a great opening shot that Jim has been encouraging us to see.
The camera shoots the water from the point of view of someone gazing over the side of a shallow, drifting boat. It has an exploratory feel: we are surveying the water, studying it, so that even though it is Pocahontas who provides the voice-over, the explorer Smith is also subtly present. But this is not the gaze of someone who is simply staring at the surface of the water. The gazer is looking deeper, into the river's heart. At first, we see nothing of what lies beneath the water's surface, because blue sky and trees are reflected onto it. But as the shot continues, the reflection fades, and we see underwater a thick layer of green plants, whose tips eventually stipple the water's surface. Sky, water, and plants exist together, all in one shot. When combined with the din of the insects and birds, it's an image that plunges us from the outset into the beauty and the fecundity of the natural world, and Malick will continue to emphasize that theme throughout his film.
But the idea of looking deep into the river has further significance. This shot is our introduction to the network of waterways upon which most of the film's events will take place. The credits sequence that follows this shot will display animated versions of John Smith's maps of the rivers of Virginia. Following that, we will see images of the Powhatan people swimming in the river and (in the 'Extended Cut' of the film) Pocahontas's voice-over will refer to the spirit-mother as "the great river that never runs dry". As the swimmers rise to the surface (from out of the soul of her), they will see, coming up the river, the three ships of the Virginia Company. The Englishmen will build the colony of Jamestown on the banks of the river. So the river water that we see in this opening shot is not only the source of the Powhatan sense of origin, but also of the colony of Virginia that will ultimately become the United States. Everything comes from the river. And Malick will underscore this in the music that he chooses to accompany the arrival of the ships: the prelude to Wagner's opera Das Rheingold, which opens with the three Rhine-Maidens swimming in a river at the beginning of the world.
This is a film about the arrival of change, change that is sometimes fascinating and sometimes catastrophic. Malick evokes these impending transformations at the end of the shot. The crystalline water is disrupted as first one, then several, then many raindrops hit it. As the rain strikes, the river trembles, and just as the shot ends, we hear the roar of crashing waves. Sound and image are warning us that something is coming (to quote another great cinematic opening sequence, "The world is changed; I feel it in the water"). I don't think the raindrops are an entirely disquieting image, though; rain gives life as much as does the river. That ambiguity is fundamental to "The New World," whose title describes both Smith's discoveries in Virginia and Pocahontas's in London, and which concludes with a revelation that the spirit mother is everywhere, even on the banks of a muddy English stream.
Beautifully done, Dr. Nicol -- thank you! What a deeply mysterious opening it is, beginning with a reflection on the placid surface of the water that looks like an upside-down Impressionist landscape illuminated through Magritte's "Empire of Light" -- European and/or Native American, depending on your sphere of reference. And as we begin to realize that we're moving over the water, we begin to see not only the disruptions on the surface, but, as you say, the world beneath it -- very much a new world, as in prehistoric, untouched. The next shot is (we assume) of the speaker, Pocahontas, herself, gazing in the opposite direction, toward the sky with her arms outstretched. Following the credits (patterned on old navigational maps), we are below the water, swimming with the fishes and the people who live here...
Malick first screened a 150-minute cut of the film to critics in December 2005, so that it would be eligible for awards season that year. However, the producers felt it was too long, so Malick and his team of editors went back into the edit suite to deliver a 135-minute version to be screened to the general public. This was the version that bombed at the box-office but, somewhere along the way, Malick was offered the chance to extend the film once again for home release. Rather than just re-release the 150-minute cut though, Malick took it upon himself to make a more expressive spin on the material, creating a 172-minute version of the film.
This third edition contains the first amendment to the IHR (2005): a revision to Annex 7 adopted bythe Sixty-seventh World Health Assembly in 2014. The amendment provides that the period ofprotection from vaccination with an approved vaccine against infection with Yellow Fever, and thevalidity of the related certificate, will be for the life of the person vaccinated rather than a period of tenyears as previously required. In accordance with the WHO Constitution and the IHR (2005), thisamendment entered into force for all States Parties on 11 July 2016. There were no reservationsor rejections concerning the amendment submitted by any State Party within the period required by theIHR (2005). This edition also updates Appendix 1 containing the list of IHR (2005) States Parties (toinclude Liechtenstein and South Sudan).As of the Sixth-ninth World Health Assembly in 2016, three Review Committees have been convenedunder the IHR (2005) and reported through the Director-General to the Health Assembly withconclusions and recommendations on key aspects of the functioning and implementation of theRegulations. The reports of the three Review Committees are available in
But there is more to it than that. The dramatic action of the film consists in the collision of different worlds, the English and the Indian, exemplified in Pocahontas, Smith and Rolfe, a relation that can be described in cultural, economic, affective and erotic terms. What would a new world be like, how if at all can one form of life, one world, be attuned to another?
As with The New World (2005), Terrence Malick and Emmanuel Lubezki laid down a series of parameters (a dogma) to be used throughout the film: Shoot in available natural light. Do not underexpose the negative. Keep true blacks. Preserve the latitude of the image. Seek maximum resolution and fine grain. Seek depth with deep focus and stop: "Compose in depth." Shoot in backlight for continuity and depth. Use negative fill to avoid light sandwiches (even sources on both sides) Shoot in crosslight only after dawn or before dusk; never front light. Avoid lens flares. Avoid white and primary colors in frame. Shoot with short focal length, hard lenses. No filters, except Polarizer. In the eye of the hurricane, shoot with steady handheld or Steadicam. Z-axis moves instead of pans and tilts. No zooming. Do some static tripod shots "in midst of our haste" Accept the exception to the dogma (a.k.a Article E) - Article E however does not apply underexposure of the negative. 2ff7e9595c
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