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Special Features
Restored high-definition digital transfer
Audio commentary with Weber, Jack Fisk, Patricia Norris & Dianne Crittenden
Audio interview with Richard Gere
Video interviews with Bailey, Haskell Wexler & Sam Shepard
A booklet featuring an essay by critic Adrian Martin
Audio commentary with Weber, Jack Fisk, Patricia Norris & Dianne Crittenden
Audio interview with Richard Gere
Video interviews with Bailey, Haskell Wexler & Sam Shepard
A booklet featuring an essay by critic Adrian Martin
Editorial Reviews
Amazon.com
Richard Gere works in a Chicago steel mill at the turn of the century, but must flee the city after accidentally killing a man. Heading for the wheat fields of Texas, he packs up his girlfriend (Brooke Adams) and his younger sister (Linda Manz). Instead of a better life, they head straight into tragedy when a wealthy farmer (Sam Shepard) falls for Adams. Believing him to be dying and expecting to inherit a fortune, she agrees to marry him. Their plans change when Shepard fails to die and Gere takes matters into his own hands. Aesthetically flawless, this film about a romantic love triangle is diminished by the small scope of video. Originally shown in 70mm, it is an eye-catching period piece that won its cinematographer, Néstor Almendros, a 1978 Oscar. Texture and color are the unbilled characters in this tragic tale, and are just as important as the players. The story, sadly, fades somewhat when compared to the glory of the visuals. --Rochelle O'Gorman
Product Description
One-of-a-kind filmmaker-philosopher Terrence Malick has made some of the most visually arresting movies in history, and his glorious period tragedy Days of Heaven, featuring Oscar-winning cinematography by Nestor Almendros, stands out among them. A Chicago steelworker (Richard Gere) accidentally kills his supervisor, and he, his girlfriend (Brooke Adams), and his little sister (Linda Mans) flee to the Texas Panhandle, where they find work harvesting in the wheat fields of a wealthy farmer (Sam Shepard). A love triangle, a swarm of locusts, a hellish fire—Malick captures it all with dreamlike authenticity, creating at once a timeless American idyll and a gritty evocation of turn-of-the-century labor.
Stills from Days of Heaven
Stills from Days of Heaven
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Customer Reviews
Most Helpful Customer Reviews
147 of 151 people found the following review helpful
5.0 out of 5 stars
Terrence Malick's Masterpiece About How Human Nature Consumes Our Rationality Gets The Criterion Treatment
October 23, 2007
Format:DVD|Amazon Verified Purchase
MOVIE:
Terrence Malick is one of the greatest filmmakers alive, and after Sergio Leone he is my second favorite director of all time. In his career that spans almost 40 years he has only made four feature length films. What I love about Malick's films is that they are poetry; they break all the conventions of filmmaking. When you sit down to watch a Terrence Malick film you are readying yourself for an experience. The way he examines human nature in every single one of his films is extraordinary. Every one of his films also deals with man's impact on nature and he slowly erases the lines between sanity and insanity. His directorial debut was with Badlands starring Martin Sheen and Sissy Spacek; a haunting story of lovers on the run from the law. His next film is still undoubtedly one of the most moving pieces of cinema ever created, Days Of Heaven.
Days Of Heaven tells the story of Bill (Richard Gere) and Abby (Brooke Adams); two young people in love trying to make ends meet and find work. The two go around pretending to be brother and sister as to protect themselves from the outside world. At the beginning of the film Bill gets in a tussle at the steel mill and accidentally kills his boss. Now Bill, Abby and Linda (Linda Manz) hop a train to go work on a farm to harvest wheat. The story is told through Linda's perspective. Linda is the real sister of Bill and she is barely a teenager. It's interesting that Malick lets the story unfold through the eyes of an innocent child; I think it gives complex situations in the film a simpler point of view. As the story unfolds and they work on the farm Bill finds out that the owner of the farm is dying of a terminal illness. The farmer is played by Sam Shepard in his first major role. Bill hatches a plan for Abby to get the farmer to fall in love with her. That way when he dies he will leave all his assets to her and they will become rich. As can be imagined after a full year passes the farmer is still alive and tensions begin to grow that leads to an inevitable climax.
The number one aspect of this film that garners so much attention is the cinematography. The story goes that Nestor Almendros started the picture but about a fourth of the way through he had to leave due to a prior commitment. Cinematographer Haskell Wexler came in and shot the rest of the picture according to Almendros's standards, but in the end didn't receive any credit on the film. Almendros went on to win the Oscar for Best Cinematography that year. All quarrels aside one can't deny the brilliance of the film's photography. Every frame is crafted with absolute detail that in some cases will give you goose-bumps. They shot most of the film during "magic hour"; that twilight period right before the sun sets. It creates a perfect backlight that if framed correctly can create haunting silhouettes. It seems as if there is always a ring of fire on the horizon that is slowly getting closer, which it in fact does. During the scene of the locust plague a lantern breaks in the wheat fields and the entire farm erupts into flames. It symbolizes rage in the characters as tensions mount, but I don't want to spoil anything for those who want to experience the film for the first time. All in all this film is a visual feast that will stay in your mind's eye.
Since the film is extremely light on dialogue it relies on two major elements. Cinematography being the first thing I discussed and Ennio Morricone's score being the second. Morricone's incredibly dark and foreboding score is a haunting masterpiece. It underscores the human conflicts being depicted in the film and of course has tragedy spelled out plain and simple with the tone right from the beginning. The first time I saw the film I cried because of the subtle power of this Oscar nominated score. The haunting elements of it will resonate with you for quite some time, and honestly this score is the major source of emotion in the film. It accentuates Malick's themes perfectly.
So, what is this film ultimately about? One could spend all their time writing about a Terrence Malick film and every word could be wrong and right at the same time. His films need to be experienced, because it is absolutely impossible to try to describe how his films affect you. In my head I saw this film as an exploration of love and how human nature is a flaw that can allow our emotions to consume our rational side. If you've seen The Thin Red Line, Badlands or The New World then you should have a good idea of what Days Of Heaven will be like. It's a surprisingly short film at only 94 minutes, especially if you compare how long his last two films were. Thanks for sticking with me for this entire review/analysis. I really like to do more than the average critique when it comes to important films like this.
SPECIAL FEATURES:
Audio Commentary:
Since Terrance Malick is the most elusive filmmaker ever (not a single interview ever?) the commentary track features editor Bill Weber, art director Jack Fisk, costume designer Patricia Norris, and casting director Dianne Crittenden. This is a fascinating track that really delves into just how much detail can be found in every single frame of the movie; a must for film enthusiasts.
Audio Interview With Richard Gere:
An interview conducted in 2007 just for this release. Richard Gere examines how he came to doing the movie. He discusses how he really wasn't into film but rather theater. However, he saw Badlands and was immediately interested if Terrence Malick was directing. He does ramble a bit, but he does offer some insight. The fact that it's a 22 minute audio interview set to stills and footage of the movie makes it kind of a bore to sit through.
Video Interview With Sam Shepherd:
This 12 minute interview from 2002 is an interesting look at how Malick got Shepherd into acting. He talks about how he was more into writing at the time, but he decided to do it just for the hell of it.
Video Interview With John Bailey:
Bailey was Nestor Almendros's camera operator and this is by far the most interesting interview on the DVD. It's a 20 minute interview and it is incredibly in depth. He uses a lot of lingo that may go over the head of casual viewers. He explains in detail all the techniques they used and it really opens up a lot. It's a really fascinating interview that uses visual examples throughout as he talks.
Video Interview With Haskell Wexler:
Wexler was the cinematographer who took over for Almendros and in the end received no credit for his work on the film. In this 11 minute interview he explains his relationship with Malick and how he came to take over for Almendros. It's a great first hand account from the man himself.
41-Page Booklet:
The booklet contains an essay by Adrian Martin and a chapter from Nestor Almendros's autobiography.
VIDEO:
When you buy a Criterion DVD you are paying for perfection. This remastered version was supervised and approved by Terrence Malick. The original 1.78:1 aspect ratio is maintained exactly with absolutely zero flaws in the transfer. The new high definition transfer was created from a new 35mm interpositive struck from the 35mm A/B roll original negative. Thousands of instances of dirt and scratches were removed and the resolution is magnificent because they mastered the DVD at the highest bit rate possible. I just wonder when Criterion is going to make the move to Blu-ray?
AUDIO:
A brand new Dolby Digital 5.1 surround track was created for this release. The old track was tossed and this new track was remastered at 24-bits from the original 4.1 magnetic tracks. Every effort possible was implemented to reduce clicks, hiss and crackle. This is fantastic, I love Criterion so much.
BOTTOM LINE:
Days Of Heaven is one of my favorite films of all time and I certainly think it's Malick's best. The film will overwhelm you with its visual power and you certainly won't forget it. Criterion has done a great service by remastering this film and I can only hope that Malick's other films will eventually get the same treatment.
Terrence Malick is one of the greatest filmmakers alive, and after Sergio Leone he is my second favorite director of all time. In his career that spans almost 40 years he has only made four feature length films. What I love about Malick's films is that they are poetry; they break all the conventions of filmmaking. When you sit down to watch a Terrence Malick film you are readying yourself for an experience. The way he examines human nature in every single one of his films is extraordinary. Every one of his films also deals with man's impact on nature and he slowly erases the lines between sanity and insanity. His directorial debut was with Badlands starring Martin Sheen and Sissy Spacek; a haunting story of lovers on the run from the law. His next film is still undoubtedly one of the most moving pieces of cinema ever created, Days Of Heaven.
Days Of Heaven tells the story of Bill (Richard Gere) and Abby (Brooke Adams); two young people in love trying to make ends meet and find work. The two go around pretending to be brother and sister as to protect themselves from the outside world. At the beginning of the film Bill gets in a tussle at the steel mill and accidentally kills his boss. Now Bill, Abby and Linda (Linda Manz) hop a train to go work on a farm to harvest wheat. The story is told through Linda's perspective. Linda is the real sister of Bill and she is barely a teenager. It's interesting that Malick lets the story unfold through the eyes of an innocent child; I think it gives complex situations in the film a simpler point of view. As the story unfolds and they work on the farm Bill finds out that the owner of the farm is dying of a terminal illness. The farmer is played by Sam Shepard in his first major role. Bill hatches a plan for Abby to get the farmer to fall in love with her. That way when he dies he will leave all his assets to her and they will become rich. As can be imagined after a full year passes the farmer is still alive and tensions begin to grow that leads to an inevitable climax.
The number one aspect of this film that garners so much attention is the cinematography. The story goes that Nestor Almendros started the picture but about a fourth of the way through he had to leave due to a prior commitment. Cinematographer Haskell Wexler came in and shot the rest of the picture according to Almendros's standards, but in the end didn't receive any credit on the film. Almendros went on to win the Oscar for Best Cinematography that year. All quarrels aside one can't deny the brilliance of the film's photography. Every frame is crafted with absolute detail that in some cases will give you goose-bumps. They shot most of the film during "magic hour"; that twilight period right before the sun sets. It creates a perfect backlight that if framed correctly can create haunting silhouettes. It seems as if there is always a ring of fire on the horizon that is slowly getting closer, which it in fact does. During the scene of the locust plague a lantern breaks in the wheat fields and the entire farm erupts into flames. It symbolizes rage in the characters as tensions mount, but I don't want to spoil anything for those who want to experience the film for the first time. All in all this film is a visual feast that will stay in your mind's eye.
Since the film is extremely light on dialogue it relies on two major elements. Cinematography being the first thing I discussed and Ennio Morricone's score being the second. Morricone's incredibly dark and foreboding score is a haunting masterpiece. It underscores the human conflicts being depicted in the film and of course has tragedy spelled out plain and simple with the tone right from the beginning. The first time I saw the film I cried because of the subtle power of this Oscar nominated score. The haunting elements of it will resonate with you for quite some time, and honestly this score is the major source of emotion in the film. It accentuates Malick's themes perfectly.
So, what is this film ultimately about? One could spend all their time writing about a Terrence Malick film and every word could be wrong and right at the same time. His films need to be experienced, because it is absolutely impossible to try to describe how his films affect you. In my head I saw this film as an exploration of love and how human nature is a flaw that can allow our emotions to consume our rational side. If you've seen The Thin Red Line, Badlands or The New World then you should have a good idea of what Days Of Heaven will be like. It's a surprisingly short film at only 94 minutes, especially if you compare how long his last two films were. Thanks for sticking with me for this entire review/analysis. I really like to do more than the average critique when it comes to important films like this.
SPECIAL FEATURES:
Audio Commentary:
Since Terrance Malick is the most elusive filmmaker ever (not a single interview ever?) the commentary track features editor Bill Weber, art director Jack Fisk, costume designer Patricia Norris, and casting director Dianne Crittenden. This is a fascinating track that really delves into just how much detail can be found in every single frame of the movie; a must for film enthusiasts.
Audio Interview With Richard Gere:
An interview conducted in 2007 just for this release. Richard Gere examines how he came to doing the movie. He discusses how he really wasn't into film but rather theater. However, he saw Badlands and was immediately interested if Terrence Malick was directing. He does ramble a bit, but he does offer some insight. The fact that it's a 22 minute audio interview set to stills and footage of the movie makes it kind of a bore to sit through.
Video Interview With Sam Shepherd:
This 12 minute interview from 2002 is an interesting look at how Malick got Shepherd into acting. He talks about how he was more into writing at the time, but he decided to do it just for the hell of it.
Video Interview With John Bailey:
Bailey was Nestor Almendros's camera operator and this is by far the most interesting interview on the DVD. It's a 20 minute interview and it is incredibly in depth. He uses a lot of lingo that may go over the head of casual viewers. He explains in detail all the techniques they used and it really opens up a lot. It's a really fascinating interview that uses visual examples throughout as he talks.
Video Interview With Haskell Wexler:
Wexler was the cinematographer who took over for Almendros and in the end received no credit for his work on the film. In this 11 minute interview he explains his relationship with Malick and how he came to take over for Almendros. It's a great first hand account from the man himself.
41-Page Booklet:
The booklet contains an essay by Adrian Martin and a chapter from Nestor Almendros's autobiography.
VIDEO:
When you buy a Criterion DVD you are paying for perfection. This remastered version was supervised and approved by Terrence Malick. The original 1.78:1 aspect ratio is maintained exactly with absolutely zero flaws in the transfer. The new high definition transfer was created from a new 35mm interpositive struck from the 35mm A/B roll original negative. Thousands of instances of dirt and scratches were removed and the resolution is magnificent because they mastered the DVD at the highest bit rate possible. I just wonder when Criterion is going to make the move to Blu-ray?
AUDIO:
A brand new Dolby Digital 5.1 surround track was created for this release. The old track was tossed and this new track was remastered at 24-bits from the original 4.1 magnetic tracks. Every effort possible was implemented to reduce clicks, hiss and crackle. This is fantastic, I love Criterion so much.
BOTTOM LINE:
Days Of Heaven is one of my favorite films of all time and I certainly think it's Malick's best. The film will overwhelm you with its visual power and you certainly won't forget it. Criterion has done a great service by remastering this film and I can only hope that Malick's other films will eventually get the same treatment.
107 of 113 people found the following review helpful
By M. Burns
Format:DVD
How fitting it is that the best movie Richard Gere has ever done, and will ever do, is the one where he probably talks the least. Of course, dialogue isn't what's so breathtakingly beautiful about Days of Heaven, one of the forgotten greats of all time. It's the cinematography (maybe the best of all time, sorry I left this off my list, folks), the sad story that runs through the film, and the overwhelmingly aching tone that just resonates from every frame. Days of Heaven is a quiet, meditative film that flies under the radar in emotion and volume for most of the time. The film roams over the open fields of its locale, half-listening to conversations (even important ones) as maybe the watchful eye of God. I saw this movie once before and bought it on a whim, and am convinced more than ever that most great movies don't reveal themselves totally on the first, or even second time. On viewing #2, I can't get Days of Heaven out of my mind. It's a beautiful, sad little tone poem that resonates more than most explosive, violent movies of the '70's. You're missing out if this one isn't on your shelf. GRADE: A+
66 of 70 people found the following review helpful
By Cubist
Format:DVD
A few years ago Paramount Pictures unceremoniously dumped Days of Heaven on DVD with a decent transfer and no extras save a theatrical trailer. While the folks at Criterion haven't quite given it their deluxe treatment, they have provided a brand new, Terrence Malick-approved transfer that is a revelation and a few, yet substantial extras.
While it was too much to hope for a commentary by the media-shy Malick, Criterion has provided us with the next best thing: a commentary by art director Jack Fisk, editor Billy Weber (both men have worked on all of Malick's films), costume designer Patricia Norris and casting director Dianne Crittenden. Weber talks about Linda Manz's inexperience as an actress and how she kept referring to Richard Gere, Brooke Adams and Sam Shepard by their real names. Fisk talks about the challenges of constructing sets with very little preparation time. They all talk about Malick's working methods and provide fascinating insight into the director's creative process.
There is an audio interview with Richard Gere that plays over footage from the film. The actor says that the filmmaker spent a year casting and this drove him crazy and he almost left the film. Gere candidly reveals that Malick didn't really know how to direct actors and this led to some frustration on their part.
Also included is a 2002 interview with Sam Shepard who mentions that Malick was shy and almost embarrassed to ask him to be in the film. Shepard also talks about the filmmaker's attention to detail and how in awe he was of nature and his desire to capture it on film.
Finally, there are interviews with camera operators John Bailey and Haskell Wexler. Bailey says that Malick made a classic, pastoral film but with an edgy, American New Wave style. He also talks about Malick's creative process and the cameras they used. Wexler took over when the film's cinematographer Nestor Almendros left due to a prior commitment. He talks about Malick's connection to nature and his working methods.
While it was too much to hope for a commentary by the media-shy Malick, Criterion has provided us with the next best thing: a commentary by art director Jack Fisk, editor Billy Weber (both men have worked on all of Malick's films), costume designer Patricia Norris and casting director Dianne Crittenden. Weber talks about Linda Manz's inexperience as an actress and how she kept referring to Richard Gere, Brooke Adams and Sam Shepard by their real names. Fisk talks about the challenges of constructing sets with very little preparation time. They all talk about Malick's working methods and provide fascinating insight into the director's creative process.
There is an audio interview with Richard Gere that plays over footage from the film. The actor says that the filmmaker spent a year casting and this drove him crazy and he almost left the film. Gere candidly reveals that Malick didn't really know how to direct actors and this led to some frustration on their part.
Also included is a 2002 interview with Sam Shepard who mentions that Malick was shy and almost embarrassed to ask him to be in the film. Shepard also talks about the filmmaker's attention to detail and how in awe he was of nature and his desire to capture it on film.
Finally, there are interviews with camera operators John Bailey and Haskell Wexler. Bailey says that Malick made a classic, pastoral film but with an edgy, American New Wave style. He also talks about Malick's creative process and the cameras they used. Wexler took over when the film's cinematographer Nestor Almendros left due to a prior commitment. He talks about Malick's connection to nature and his working methods.
Most Recent Customer Reviews
5.0 out of 5 stars
Cosmic, ethereal, maddening, and sublime, Days Of Heaven is...
Cosmic, ethereal, maddening, and sublime, Days Of Heaven is extraordinary. The film is a deliberately haunting poem, and the epic scope of the picture makes experiencing it an... Read more
Published 1 day ago by Filmaholics Anyonymous
4.0 out of 5 stars
Days
Original story line and great acting made this movie interesting from the opening scene with a twisted surprise of an endding.
Published 3 days ago by j
4.0 out of 5 stars
an oldie I missed the first time around
Very young Richard Gere and Sam Shepherd....in a good story. Almost feels Tolstoy-like....with a sense of foreboding
throughout. Enjoyed it.
throughout. Enjoyed it.
Published 7 days ago by bella's mimi
2.0 out of 5 stars
Not worth spending an hour an half to watch.
Figuring out the plot of this movie took about 30 minutes. Many of the scene did not make sense or did not connect with the movie. Very little dialog. Read more
Published 8 days ago by Jerry
5.0 out of 5 stars
Great movie
This movie was visually stunningly and loved the way the story slowly unfolds. The characters are complexed with a visually stunning background.
Published 8 days ago by catherine Moreton
3.0 out of 5 stars
Nothing to write home about.
I agree the cinematography is fantastic, but the story line is old and worn out. It is very predictable and unfortunately not really as enjoyable as I had hoped. Read more
Published 8 days ago by Gail E. Jones
4.0 out of 5 stars
For a mellow night
A young Richard Gere and Sam Shepherd were great actors in a movie with a good plot. It is a movie for when you want to watch something mellow, it is not a fast moving "action"... Read more
Published 8 days ago by Dianna Smith
2.0 out of 5 stars
Boring movie
This movie was incredibly slow and boring. Kept waiting for something to happen to get my attention, but it never did. Read more
Published 9 days ago by G. Johnson
5.0 out of 5 stars
Terrence Malik's Beauty
If you are a Terrence Malik fan like me, this is a must to see where he began and how his themes continue into the present. Read more
Published 11 days ago by William F. Pilder
1.0 out of 5 stars
richard, you had to improve to do Officer and a Gentleman.
i quickly lost interest in the tedious concerns of the characters and didn't finish it. five more words required to get this published.
Published 19 days ago by johnb-cape
