DAYS OF HEAVEN FILMS. 4 EDITIoN Amiro yearns for things outside his grasp: he runs along the DAYS OF HEAVEN shouting and waving at the great ships; he's fascinated by a lig he sees at a local aerodrome and is overjoyed to see it seemingly able to whisk people away from his reality of grinding USA,1978 poverty to a new world. To overcome the difficulties of his life. amiro learns to outrun his Director: Terrence malick adversaries. When he joins a gang of boys collecting bottles dumped from ships and bobbing about in the shallows, he learns the quickest Production: O P. Productions; Metrocolor, 35mm, Dolby sound; running time: 95 minutes. Released 13 September 1978. Filmed as his speed at this task leads to a fight with one of the regular location in the Midwest: cost: $2.5 million collectors. Another of his attempts to earn a living is selling iced water to the dock workers. This involves buying ice some distance away Producers: Bert and Harold Schneider; executive producer: Jacob from the port and running back with it. Amiro's running skills and Brickman; screenplay: Terrence Malick; photography: Nestor determination are proven when he is able to wrest the melting ice Almendros with additional photography by Haskell Wexler; editor: away from an adult thief. Billy Weber; sound mixers: George Ronconi, Barry Thomas: special sound effects: James Cox art director: James Fisk: music: Ennio float out into the bay for the bottle collection. the ice to sell on the Morricone and Leo Kottke; special effects: John Thomas and Mel port, and even a burnt-out light bulb with which to decorate his Merrells; costume designer: Patricia Norris. makeshift home in an attempt to emulate theglamour'of the outdoor cafe where he is a shoeshine boy. When one of the customers Cast: Richard Gere(The Brother); Brooke Adams(The Girl); San at the cafe accuses Amiro of stealing his lighter, the boy is aghast at Shepard (The Farm owner): Linda Manz(The sister); Robert wilke this allegation, as he is innately honest. This story of a poverty-ridden existence is superbly realised by Bell; Doug Kershaw(Fiddle player). director Amir Naderi, not only because it is an autobiographical ccount of his childhood. but also because the filmmaking is of such Awards: Oscar for Best Cinematography, 1978; New York Film high standard. Majid Nerimand as Amiro is wonderful, bringing real Critics Award for Best Director, 1978: Cannes Film Festival, Best feeling and acting skill to his role. Naderi obviously knows his locale Director. 1979 timately and this shows in the film. We see life from Amiro's point of view and accept it for what it is. We have the insiders view of this world and the film gains from that-the unpretentious, yet intimate, Publications forum is Dawandeh's strongest quali Lee sellars Schreger, C, in Variety(New York), 13 September 1978. Fox, T C, in Film Comment(New York), September-October 1978 A DAY IN THE COUNTRY Riley, B, Nestor Almendros Interviewed, in Film Comment(New York), September-October 1978 See UNE PartIE DE campagne Films in Review York), November 1978. Insdorf, A, in Take One(Montreal), November 1978 Hodenfield, Chris, Terrence Malick: Days of Heaven's Image Maker, in Rolling Stone(New York), 16 November 1978 DAY OF WRATH Films and Filming(London), December 1978. See VrEdENS dAG Christian Century(Chicago), 3 January 1979 Schlesinger, Arthur M,""Days of High Seriousness, in Saturday Review(New York), 6 January 1979. Corliss, Richard, in New York Times, 8 January 1979 DAYBREAK Maraval, P, Dossier: Hollywood 79-Terrence Malick, in See le joUr se leve Cinematographe(Paris), March 1979 Combs, Richard, " The Eyes of Texas: Terrence Malick's Days of Heaven, in Sight and Sound (London), Spring 1979 Carcassone, P, in Cinematographe(Paris), June 1979. DAYS AND NIGHTS IN THE Coleman, John, in New Statesman(London), 1 June 1979 FOREST Morris, M, in Cinema Papers(Melbourne), September-October 1979 Alpert, Hollis, The Rise of Richard Gere, in American Film See Aranver din ratri (Washington, D.C. ) October 1979 Ciment, Michel, and B. Riley, Le Jardin de Terrence Malick, in Positif (Paris), December 1979 DAYS OF BEING WILD Perez Turrent, T, Dias de Gloria y Badlands: Terrence Malick, nueva personalidad del cine norteamericano, in Cine(Mexic See AHFeI ZHENG ZhUan City), March 1980DAYS OF HEAVEN FILMS, 4th EDITION 292 Amiro yearns for things outside his grasp: he runs along the shoreline shouting and waving at the great ships; he’s fascinated by a light plane he sees at a local aerodrome and is overjoyed to see it take off, seemingly able to whisk people away from his reality of grinding poverty to a new world. To overcome the difficulties of his life, Amiro learns to outrun his adversaries. When he joins a gang of boys collecting bottles dumped from ships and bobbing about in the shallows, he learns the quickest worker can collect the most—a lesson not without cost, he discovers, as his speed at this task leads to a fight with one of the regular collectors. Another of his attempts to earn a living is selling iced water to the dock workers. This involves buying ice some distance away from the port and running back with it. Amiro’s running skills and determination are proven when he is able to wrest the melting ice away from an adult thief. Amiro must pay for everything in his life: the inner-tube he uses to float out into the bay for the bottle collection, the ice to sell on the port, and even a burnt-out light bulb with which to decorate his makeshift home in an attempt to emulate the ‘‘glamour’’ of the outdoor cafe where he is a shoeshine boy. When one of the customers at the cafe accuses Amiro of stealing his lighter, the boy is aghast at this allegation, as he is innately honest. This story of a poverty-ridden existence is superbly realised by director Amir Naderi, not only because it is an autobiographical account of his childhood, but also because the filmmaking is of such a high standard. Majid Nerimand as Amiro is wonderful, bringing real feeling and acting skill to his role. Naderi obviously knows his locale intimately and this shows in the film. We see life from Amiro’s point of view and accept it for what it is. We have the insider’s view of this world and the film gains from that—the unpretentious, yet intimate, forum is Dawandeh’s strongest quality. —Lee Sellars A DAY IN THE COUNTRY See UNE PARTIE DE CAMPAGNE DAY OF WRATH See VREDENS DAG DAYBREAK See LE JOUR SE LEVE DAYS AND NIGHTS IN THE FOREST See Aranyer din Ratri DAYS OF BEING WILD See AHFEI ZHENG ZHUAN DAYS OF HEAVEN USA, 1978 Director: Terrence Malick Production: O.P. Productions; Metrocolor, 35mm, Dolby sound; running time: 95 minutes. Released 13 September 1978. Filmed on location in the Midwest; cost: $2.5 million. Producers: Bert and Harold Schneider; executive producer: Jacob Brickman; screenplay: Terrence Malick; photography: Nestor Almendros with additional photography by Haskell Wexler; editor: Billy Weber; sound mixers: George Ronconi, Barry Thomas; special sound effects: James Cox; art director: James Fisk; music: Ennio Morricone and Leo Kottke; special effects: John Thomas and Mel Merrells; costume designer: Patricia Norris. Cast: Richard Gere (The Brother); Brooke Adams (The Girl); Sam Shepard (The Farm owner); Linda Manz (The Sister); Robert Wilke (The Foreman); Jackie Shultis; Stuart Margolin; Tim Scott; Gene Bell; Doug Kershaw (Fiddle player). Awards: Oscar for Best Cinematography, 1978; New York Film Critics Award for Best Director, 1978; Cannes Film Festival, Best Director, 1979. Publications Articles: Schreger, C., in Variety (New York), 13 September 1978. Fox, T. C., in Film Comment (New York), September-October 1978. Riley, B., ‘‘Nestor Almendros Interviewed,’’ in Film Comment (New York), September-October 1978. Films in Review (New York), November 1978. Insdorf, A., in Take One (Montreal), November 1978. Hodenfield, Chris, ‘‘Terrence Malick: Days of Heaven’s Image Maker,’’ in Rolling Stone (New York), 16 November 1978. Films and Filming (London), December 1978. Christian Century (Chicago), 3 January 1979. Schlesinger, Arthur M., ‘‘Days of High Seriousness,’’ in Saturday Review (New York), 6 January 1979. Corliss, Richard, in New York Times, 8 January 1979. Maraval, P., ‘‘Dossier: Hollywood 79—Terrence Malick,’’ in Cinématographe (Paris), March 1979. Combs, Richard, ‘‘The Eyes of Texas: Terrence Malick’s Days of Heaven,’’ in Sight and Sound (London), Spring 1979. Carcassone, P., in Cinématographe (Paris), June 1979. Coleman, John, in New Statesman (London), 1 June 1979. Morris, M., in Cinema Papers (Melbourne), September-October 1979. Alpert, Hollis, ‘‘The Rise of Richard Gere,’’ in American Film (Washington, D.C.), October 1979. Ciment, Michel, and B. Riley, ‘‘Le Jardin de Terrence Malick,’’ in Positif (Paris), December 1979. Pérez Turrent, T., ‘‘Dias de Gloria y Badlands: Terrence Malick, nueva personalidad del cine norteamericano,’’ in Cine (Mexico City), March 1980