Terrence Malick is less a storyteller than a visual poet. At times, the images in 'Days of Heaven (1978)' seem too beautiful to be believed – could Mother Nature even construct such moments of magnificence at her own accord? Cinematographers Néstor Almendros and Haskell Wexler (credited only as "additional photographer") consistently shot the film during the "magic hour" between darkness and sunrise/sunset, when the sun's radiance is missing from the sky, and so their colours have a muted presence, as though filtered through the stalks of wheat that saturate the landscape. Crucial alongside the film's photographers are composer Ennio Morricone – utilising a variation on the seventh movement ("Aquarium") in Camille Saint-Saëns's "Carnival of the Animals" suite – and a succession of sound editors, whose work brings a dreamy, ethereal edge to the vast fields of the Texas Panhandle. The film's final act, away from the wheat-fields, recalls Arthur Penn's 'Bonnie and Clyde (1967),' but otherwise Malick's style, contemplative and elegiac, is in a class of its own, more comparable perhaps to Kurosawa's 'Dersu Uzala (1975).'

Malick refuses to explore his characters' motivations. The viewer is deliberately kept at an arm's length, and Malick eschews cinema's traditional notions of narrative development. Instead, the story is told as a succession of fleeting moments, the sort that a young girl (the film's narrator, Linda Manz) might pick up through her day-to-day experiences and muted understanding of adult emotions. Note that the girl is always kept separate from the dramatic crux of the film – the love-triangle between Billy, Abby, and the Farmer – and her comprehension of events is tainted by her adolescent grasp on adult relationships and societal norms. I was reminded of Andrew Dominik's recent 'The Assassination of Jesse James by the Coward Robert Ford (2007)' {another sumptuously-photographed picture}, which also refused to explore its title character, Jesse James, kept at a distance through the impartial objectivity of the historical narrator. In Malick's film, Linda's narration tells us one thing, and the viewer sees another. But one can never fully understand the complex emotions driving human behaviour, so perhaps the girl's perspective is as good as any other.

'Days of Heaven' derives its title from a passage in the Bible (Deuteronomy 11:21), and Malick's tale of jealousy and desire is suitably Biblical in nature. Essential to this allegory is an apocalyptic plague of locusts, which descend upon the wheat-fields like an army from the heavens. When the fields erupt into flame, quite literally from the broiling emotions of the film's conflicted characters, the viewer is confronted by the most intense manifestation of Hell-on- Earth since the burning village in Bondarchuk's 'War and Peace (1967).' But, interestingly, Malick here regresses on his own allegory: Judgement Day isn't the end, but rather it comes and goes. Life is driven by the inexorable march of Fate: The Farmer (Sam Shepard) is doomed to die within a year; Bill (Richard Gere) is doomed to repeat his mistakes twice over. In the film's final moments, Linda and her newfound friend embark purposelessly along the railway tracks, the tracks being a physical incarnation of Fate itself: their paths are laid down already, but we mortals can never know precisely where they lead until we get there.

This is gorgeous looking film very much filmed at dusk and dawn. A film misunderstood upon its time of release and only after Terrence Malick's subsequent films can you now understand what the writer- director was aiming at.

The fact that Malick's next film emerged 20 years later we understand this is a person who wants to tell his story by visuals. Actors talking is just secondary and those scenes end up on the cutting room floor.

Days of Heaven which was shot in 70mm always had a reputation for its Cinematography which won an Oscar.

Now we can marvel at it in our homes on widescreen high definition television. You can really have those close ups of those insects. It is also a surprisingly short film, coming in at just over 90 minutes.

The tale is slight, Gere is a hothead with a girlfriend that is pretending to be his sister and his actual younger sister. They get a job whilst fleeing from Chicago in a farm in Texas where the Farmer played by Sam Shepard takes a shine to the girlfriend and marries her. Gere is aware that the Framer only has a year to live.

Apparently the film took several years to be edited and the narration from the youngest sister had to be added to make the story flow. A similar device was used by Malick in 'The Thin Red Line.'

The film might be seen as slow and maybe hard to fathom because there is relative little dialogue but as mentioned you admire the visuals and at 90 minutes it is not as slow moving as you think.

A brave beautifully crafted film.

This movie was a full and happy surprise for me. This man, Malick, stood twenty years out of business because he had to be, afterwards, after such a beautiful movie he couldn't and shouldn't return with any other thing shorter than this.

Days Of Heaven is absolutely perfect cinema, the plot is not important, Malick simply wants to fill your senses and he achieves it.

I haven't had the chance to watch it in a theatre, I was four years old at the time, I've watched it on television, and I understood immediately, this man is a hero for building up such a magnificent film in the United States, in Hollywood.

A true director builds a universe of his own, with its own "time flow" and dreams and that is what Malick achieved with this film, magic, sacral art. Some sequences are "almost" (a big almost) Tarkovskyand this is a big commendation.