Terrence Malick's 1973 film *Badlands* stands as a significant American neo-noir period crime drama, marking his directorial debut. The film, which he also wrote and produced, introduced audiences to his distinctive cinematic style. Starring Martin Sheen as Kit Carruthers and Sissy Spacek as Holly Sargis, *Badlands* follows their journey on a killing spree, loosely inspired by the real-life murder spree of Charles Starkweather and Caril Ann Fugate
in 1958. Despite its fictionalized narrative, Malick paid close attention to period detail, though he aimed to prevent nostalgia from overwhelming the picture, desiring it to feel like a "fairy tale, outside time." This approach, combined with its critical acclaim and eventual preservation in the National Film Registry, cemented *Badlands* as a culturally, historically, and aesthetically significant work in American cinema.
Crafting a Unique Narrative and Visual Style
Malick began working on the screenplay for *Badlands* in 1970, during a road trip, after his second year at the American Film Institute. He developed a "sales kit" with slides and video tapes of actors to attract investors, ultimately raising about half the necessary funds himself, including $25,000 of his own money, with executive producer Edward Pressman securing the rest. This meticulous preparation underscored Malick's commitment to his vision. The film's narrative is largely told through the voice of 15-year-old Holly Sargis, whose perception of events often differs from that of other characters and the audience. Malick noted that Kit and Holly "even think of themselves as living in a fairy tale," a tone he hoped would "take a little of the sharpness out of the violence but still keep its dreamy quality." This unique narrative perspective, coupled with the film's visual poetry, became a hallmark of Malick's emerging style.
Principal photography for *Badlands* began in July 1972 in Colorado, operating with a non-union crew and a modest budget of $300,000, excluding some deferments. The production faced challenges, including clashes between crew members and Malick, and an injury during a fire scene. Malick's initial cinematographer, Brian Probyn, left mid-shoot due to the director's unconventional methods and was replaced by Tak Fujimoto and then Stevan Larner. Despite these changes, producer Edward R. Pressman remarked on the film's "remarkably seamless" appearance. The film's locations included La Junta and Las Animas in southeastern Colorado, with the Frank G. Bloom House in Trinidad, Colorado, serving as the rich man's mansion. Malick himself made an uncredited cameo when an actor failed to appear.
Critical Acclaim and Lasting Influence
*Badlands* premiered as the closing feature at the 1973 New York Film Festival, reportedly "overshadowing even Martin Scorsese's *Mean Streets*." Vincent Canby of *The New York Times* praised it as a "cool, sometimes brilliant, always ferociously American film," commending Sheen and Spacek's performances and Malick's "immense talent." While some initial reviews were negative, the film's critical reputation grew over time. Jay Cocks described it as an "elaboration and reply" to *Bonnie and Clyde*, noting its "frosty irony" and "dry, remorseless" violence. Roger Ebert later added it to his "Great Movies" list in 2011, and on Rotten Tomatoes, it holds a 97% rating, with critics calling it a "masterful slice of American cinema, rife with the visual poetry and measured performances that would characterize his work."
The film's impact extended to its cast and crew. Sissy Spacek, in only her second film, found her small-town Texas roots and accent perfect for the role of Holly. Malick involved her in his creative process, even incorporating a majorette routine into the script after learning of her past. Spacek later stated that working with Malick changed her perspective on filmmaking, emphasizing the artist's rule. Martin Sheen, who based his portrayal of Kit on James Dean, called *Badlands* the best script he had ever read, describing it as "mesmerizing" and capturing the "spirit of the people, of the culture." The film's soundtrack, featuring pieces by Carl Orff and Erik Satie, also contributed to its unique atmosphere. In 1993, the Library of Congress selected *Badlands* for preservation in the United States National Film Registry, recognizing its significant cultural, historical, or aesthetic value, solidifying its place as a timeless classic.
Artistic Collaborations and Production Details
Jack Fisk served as art director for *Badlands*, marking the first of many collaborations with Malick. During production, Fisk and Sissy Spacek fell in love and married in April 1974. Fisk continued to work with Malick on films such as *To the Wonder* and *Knight of Cups*. Robert Estrin is credited as the sole editor of the film. The film's success led Warner Bros. to purchase and distribute it for just under $1 million. Despite an initial negative audience response when previewed on a double bill with *Blazing Saddles*, the production team demonstrated its commercial viability by booking it in other theaters. The film's enduring critical and artistic legacy is a testament to Malick's singular vision and the collaborative efforts of its talented cast and crew.
