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Arriving in Texas, they find employment with a wealthy wheat farmer (Sam Shepard) - along with hordes of other temporary workers, all here for the harvest. The toil in the wide-open fields is relentless, as the boiling sun arcs over the golden grain, but for people with nothing, the money is welcome indeed. Looming over the Farmer's domain stands a huge Victorian-era mansion, dwarfing the solitary owner (who, we learn, is slowly wasting away). Weeks pass by, as the bumper crop is harvested, where we simply watch the labourers at work. During this time the Farmer notices Abby and finds himself strangely drawn to her (despite the difference in their position) with a feeling unlike any he has previously known. Since he believes that Bill and Abby are only blood relations he invites Abby to stay after the harvest, with obvious intentions. She, after much hesitation, accepts.
The migrant workers depart, on an over-crowded train, leaving the farm to the four central characters. Since Bill knows that the Farmer has a limited time left upon this Earth, he encourages Abby to court with, and eventually marry, him - despite their own relationship. Accordingly, the whole stance of the farm begins to rest on a fragile menage-a-trois (where one member of the triangle is left in the dark). Somehow the four live together and enjoy the Farmer's wealth in a state of bliss. It can't last though - the Farmer's love of Abby has brought him a new lease of life while, at the same time, Abby has begun to fall in love with his sweet and caring nature. Storm clouds gather on the horizon as the season turns to winter...
To try and sum up Days of Heaven with words is pretty much meaningless, since the central pillars of the film are its cinematography and soundtrack. Each scene has its own inner beauty, whether due to the light, the awesome scenery or something else, which is breathtaking. For example, certain moments are drenched in a blood-red/orange fire which is breathing and scratching at the confines of the screen while other times slide on a cool, icy morning blue (like the surface of a frozen lake). These are just two fragments from a torrent of overwhelming images. The terrific atmosphere relies on more than just pictures though - there are minutes at a time with no dialogue, just the clash of threshing machines, the hum of insects and the whisper of breezes through the wheat. In fact, there is hardly any speaking at all for most of the film! The characters seem to communicate on a more subtle level and, equally, we grow to understand them without having every last detail told to us. It is only when you watch this movie that you realise what a welcome relief it is to get away from the constant chatter which pervades most films.
The depth of this masterpiece is such that you could discuss it for days and still only scratch the surface. To tie up the loose ends, it is worth noting that the acting is first rate - although in a style different to that of most films. Gere, especially, turns in a convincing performance - perhaps because he doesn't have to say too much! The soundtrack, which includes both the composed music and incidental sound effects, is masterful and enchanting. Terence Malick deserves full credit for the creation of a timeless classic and visual extravaganza - it's a pity that he has only directed one other film, the excellent Badlands.
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