My name is Salik Waquas, and I am a film colorist and filmmaker with a profound passion for visual storytelling. Owning a post-production color grading suite has allowed me to delve deep into the nuances of cinematic imagery and explore how visuals shape narratives and evoke emotions. Terrence Malick’s Days of Heaven has been a significant source of inspiration in my career. Released in 1978, this cinematic masterpiece intertwines lush, painterly visuals with a haunting tale of love, deceit, and morality set in the Texas Panhandle. In this article, I offer my personal analysis of the film’s cinematography, examining how its visual language crafts mood, emotion, and meaning.
About the Cinematographer
The visual poetry of Days of Heaven is a collaborative triumph, primarily credited to the late Néstor Almendros, with substantial contributions from Haskell Wexler. Almendros was renowned for his minimalist approach and mastery of natural lighting. His collaboration with Malick was pivotal in shaping the film’s ethereal aesthetic. I admire how Almendros emphasized shooting during the “magic hour”—the brief period after sunset and before nightfall—to achieve a soft, romantic glow that bathes the entire film.
Due to union regulations and Almendros’s deteriorating eyesight, Haskell Wexler was brought in to complete the project. Wexler meticulously matched Almendros’s style, ensuring a seamless visual experience. His humility in acknowledging that Almendros set the visual tone speaks volumes about their collaboration. Together, they elevated the film to iconic status, and their shared commitment to naturalism and visual storytelling continues to inspire me.
Inspiration for the Cinematography of Days of Heaven
The cinematography draws profound inspiration from American landscape paintings and early 20th-century photography. Malick and Almendros aimed to capture the vastness and beauty of the American Midwest, aligning the visuals with the emotional landscapes of the characters. The framing, composition, and interplay of light and shadow evoke the works of Edward Hopper and Andrew Wyeth, artists whose paintings resonate with quiet tension and evocative stillness.
Shooting predominantly during the magic hour wasn’t just an aesthetic choice; it served as a metaphor for the fleeting beauty and impermanence of life—a theme that permeates the film. This deliberate use of natural light imparts a timeless, dreamlike quality that I find both authentic and mesmerizing.
Camera Movements Used in Days of Heaven
Malick’s use of the camera is fluid and meditative, creating the sensation of eavesdropping on intimate moments. The film employs subtle and deliberate movements—slow pans and tracking shots—that mirror the gentle flow of nature. This restrained approach allows viewers to immerse themselves in the environment, fostering a contemplative experience.
Handheld shots are used sparingly but with great effect, primarily to convey moments of tension or emotional upheaval. This adds a layer of immediacy and intimacy that draws me deeper into the narrative. The camera often shifts focus from characters to the environment, emphasizing their insignificance against the grandeur of nature—a recurring motif that reinforces themes of humility and existential reflection.
Compositions in Days of Heaven
The compositions are meticulously crafted, often resembling paintings. Each frame feels deliberate, with careful attention to balance, negative space, and the relationship between characters and their surroundings. The use of the rule of thirds and leading lines guides the viewer’s eye, creating a harmonious balance that enhances the visual appeal.
One aspect I particularly admire is how the farmhouse is positioned within the vast golden fields, symbolizing both refuge and isolation. Foreground and background elements are skillfully layered to create depth and tension. In scenes where characters are dwarfed by sweeping landscapes, their vulnerability and insignificance are visually conveyed, enhancing the film’s poetic quality and turning visuals into a powerful narrative force.
Lighting Style of Days of Heaven
Lighting is arguably the most defining feature of the film. The commitment to natural light gives Days of Heaven an authenticity and timelessness that is rare in cinema. Almendros relied heavily on sunlight, shooting during specific times of the day to achieve the desired effect. The golden hues of the magic hour dominate many scenes, bathing characters and landscapes in a warm, almost otherworldly glow.
This lighting choice not only enhances the aesthetic appeal but also serves as a visual metaphor for the fleeting moments of happiness and beauty in the characters’ lives. The limited use of artificial lighting required meticulous planning and patience—a dedication that I find both daunting and inspiring.
The interplay between light and shadow is equally striking. Interior scenes, often lit by candlelight or natural window light, feel intimate and grounded, providing a stark contrast to the expansive outdoor vistas. This dynamic mirrors the film’s themes of morality, deception, and redemption, adding layers of meaning to the visual narrative.
Lensing and Blocking in Days of Heaven
The lensing and blocking are essential components of the film’s storytelling. The use of Panavision cameras and wide-angle lenses captures the vastness of the Texas plains, allowing the landscapes to become characters in their own right. The depth of field is used strategically to guide the viewer’s focus, emphasizing the relationship between characters and their environment.
Blocking feels naturalistic, with actors often placed in the middle ground to highlight their integration—or lack thereof—with their surroundings. The movement of characters through the frame is organic and unforced, enhancing the film’s naturalistic aesthetic. This approach allows the story to unfold visually, relying minimally on dialogue—a technique that resonates deeply with my appreciation for visual storytelling.
Color Palette of Days of Heaven
As a colorist, I find the film’s color palette to be a benchmark in achieving visual harmony. The natural light approach is complemented by a subtle grading process that enhances its painterly quality without feeling artificial. The color palette is dominated by earthy tones—golden yellows, deep browns, and muted greens—that reflect the natural environment and agrarian setting.
The golden tones of the fields and muted blues of the skies are carefully balanced, creating a warm yet melancholic atmosphere. The colors feel organic, reinforcing the film’s grounding in realism while elevating its poetic resonance. Shifts in hue and saturation correspond to the emotional arcs of the characters—a nuanced approach that adds depth to the narrative.
The color plays a significant role in distinguishing emotional beats. Warmer tones dominate moments of happiness and intimacy, while cooler, harsher tones underscore tension and tragedy. This dynamic use of color is something I strive to emulate in my own work, recognizing its power to enhance emotional engagement.
Technical Aspects of Days of Heaven
Technically, the film is a marvel. Shooting on 35mm Panavision cameras and lenses during challenging light conditions required precise exposure and a deep understanding of film stock capabilities. The choice of equipment was crucial in capturing the nuances of natural light during the magic hour—a testament to Almendros’s and Wexler’s mastery of the medium.
The sound design is equally noteworthy. Malick’s films are known for their immersive soundscapes, and Days of Heaven is no exception. From the rustling of wheat fields to the distant hum of machinery, the auditory elements are meticulously crafted to complement the visuals. Ennio Morricone’s haunting score ties everything together, enhancing the film’s emotional and thematic resonance.
Conclusion
Days of Heaven is a cinematic masterpiece that transcends traditional storytelling through its innovative use of visual and auditory language. Terrence Malick’s direction, combined with the unparalleled cinematography of Néstor Almendros and Haskell Wexler, creates a film that is both intimate and epic.
For me, this film is a testament to the power of visuals in storytelling. It challenges us to look beyond dialogue and plot, immersing us in a world where every frame is a work of art. As a filmmaker and colorist, I am continually inspired by the poetic beauty and technical brilliance of Days of Heaven. It remains an essential viewing experience for anyone passionate about the craft of cinema.