Before Claude Monet was one of the world’s most renowned painters, he was shut out of the Salon, the French Academy art exhibition that showcased the best of what the art world had to offer. Like many of his Expressionist contemporaries, Monet had been effectively excluded from the elite art world, his works derided as deplorable and crazy. Despite its ubiquity in French and Art History lessons for all ages, this fact has never ceased to surprise me.
Malick, who took a 20-year hiatus from filmmaking between his second movie, “Days of Heaven,” in 1978, and his career resurgence, is a sort of enigma in the film industry. Giving no interviews and scarcely appearing in public, Malick has become like a Bigfoot or Loch Ness Monster; public sightings are about as a rare as universal acclaim for his work. Malick’s films ask deep philosophical questions without giving the answers. They show