IMDb > Days of Heaven (1978)
Days of Heaven
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Days of Heaven (1978) More at IMDbPro »

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Overview

User Rating:
8.0/10   29,406 votes »
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Down 3% in popularity this week. See why on IMDbPro.
Director:
Writer:
Terrence Malick (written by)
Contact:
View company contact information for Days of Heaven on IMDbPro.
Release Date:
13 September 1978 (USA) See more »
Genre:
Tagline:
You've got to go through Hell before you get to Heaven See more »
Plot:
A hot-tempered farm laborer convinces the woman he loves to marry their rich but dying boss so that they can have a claim to his fortune. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won Oscar. Another 12 wins & 10 nominations See more »
User Reviews:
Healing and Cathartic See more (170 total) »

Cast

  (in credits order) (verified as complete)

Richard Gere ... Bill

Brooke Adams ... Abby

Sam Shepard ... The Farmer
Linda Manz ... Linda

Robert J. Wilke ... The Farm Foreman (as Robert Wilke)
Jackie Shultis ... Linda's Friend

Stuart Margolin ... Mill Foreman
Timothy Scott ... Harvest Hand (as Tim Scott)
Gene Bell ... Dancer
Doug Kershaw ... Fiddler

Richard Libertini ... Vaudeville Leader
Frenchie Lemond ... Vaudeville Wrestler
Sahbra Markus ... Vaudeville Dancer
Bob Wilson ... Accountant
Muriel Jolliffe ... Headmistress
John Wilkinson ... Preacher
King Cole ... Farm Worker
rest of cast listed alphabetically:

Terrence Malick ... Mill Worker (uncredited)
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Directed by
Terrence Malick 
 
Writing credits
Terrence Malick (written by)

Produced by
Jacob Brackman .... executive producer
Bert Schneider .... producer
Harold Schneider .... producer
 
Original Music by
Ennio Morricone 
 
Cinematography by
Néstor Almendros  (as Nestor Almendros)
 
Film Editing by
Billy Weber 
 
Casting by
Dianne Crittenden 
 
Art Direction by
Jack Fisk 
 
Set Decoration by
Robert Gould 
 
Costume Design by
Patricia Norris 
Jerry R. Allen (uncredited)
 
Makeup Department
Jamie Brown .... makeup artist
Bertine Taylor .... hair stylist
 
Production Management
Coulter Adams .... second unit manager
Les Kimber .... production manager
 
Second Unit Director or Assistant Director
Jacob Brackman .... second unit director
Skip Cosper .... first assistant director
Rob Lockwood .... second assistant director
Martin Walters .... second assistant director
 
Art Department
Johnny Lattanzio .... painter (as John Lattanzio)
Alan Levine .... property master (as Allan Levine)
Barry Merrells .... assistant propmaster
 
Sound Department
Philip Boole .... stereo sound consultant: Dolby
Robert Burton .... special audio assistant
Allen Byers .... special audio assistant
Charles L. Campbell .... sound effects editor (as Charles Campbell)
James Cox .... special sound effects
Peter Gregory .... sound crew: Glen Glenn
Louis Hogue .... boom operator
Stephen Katz .... stereo sound consultant: Dolby (as Steve Katz)
Glen Lambert .... boom operator
Jean Marler .... sound crew: Glen Glenn
Clyde McKinney .... stereo sound consultant: Dolby
Colin C. Mouat .... sound effects editor (as Colin Mouat)
John T. Reitz .... sound effects mixer (as John Reitz)
George Ronconi .... sound mixer
Alan Splet .... special audio assistant
Robert Thirlwell .... sound crew: Glen Glenn
Barry Thomas .... sound mixer
Joe Wachter .... sound crew: Glen Glenn
John Wilkinson .... sound re-recording mixer
Sharron Miller .... sound editor (uncredited)
 
Special Effects by
Mel Merrells .... special effects
John Thomas .... special effects
 
Stunts
Erin Talbott .... stunt flyer
Joe Watts .... stunt flyer
 
Camera and Electrical Department
John Bailey .... camera operator
Edie Baskin .... special still photographer
Edie Baskin .... title photographer
James F. Boyle .... gaffer (as James Boyle)
Robert Eber .... special assistant camera (as Bob Eber)
Chansonetta Emmons .... title photographer
Bruno Engler .... still photographer
Henry Hamilton Bennett .... title photographer
Clyde Hart .... key grip
Lewis Hine .... title photographer
Frances Benjamin Johnston .... title photographer
Malcolm Kendall .... best boy
Frank Merrells .... dolly grip
Ken Middleham .... time-lapse photographer
William Notman .... title photographer
Rod Parkhurst .... camera operator
Kent Remington .... special assistant camera
Paul Ryan .... photographer: second unit
Haskell Wexler .... additional photographer
Andrew D. Wilson .... electrician (as Andy Wilson)
Eric Van Haren Noman .... panaglide operator (uncredited)
 
Casting Department
Terry Bolo .... casting assistant
Barbara Claman .... casting assistant
Gino Havens .... casting assistant (as Geno Havens)
Judith Lamb .... casting assistant (as Judy Lamb)
Karen Rea .... casting assistant (as Karen Grossman)
Elinor Renfield .... casting assistant
 
Costume and Wardrobe Department
Jered Green .... wardrobe: men
 
Editorial Department
Caroline Biggerstaff .... additional editor (as Caroline Ferriol)
Roberta Friedman .... assistant editor
Tikki Goldberg .... editorial consultant
Dessie Markovsky .... editorial consultant (as Dessy Markovski)
Susan Martin .... additional editor
Bob McMillian .... color consultant
Barbara Morrison .... negative cutter
Jeffrey Schneider .... editorial consultant
Marion Segal .... additional editor
George Trirogoff .... assistant editor
 
Music Department
Gabriella Belloni .... music coordinator
Denny Bruce .... music coordinator
Daniel Allan Carlin .... music editor (as Dan Carlin Jr.)
Enrico DeMelis .... music coordinator
Sandro Fois .... music recording engineer
Robert W. Glass Jr. .... music mixer (as Robert Glass Jr.)
John Iles .... music recording engineer
Leo Kottke .... composer: additional music
Sergio Marcotulli .... music recording engineer
Ennio Morricone .... conductor
Ted Roberts .... music editor
Rick Smith .... musician: harmonica
 
Transportation Department
John Brumby .... driver
Don Nablo .... transportation captain
 
Other crew
Blue André .... executive assistant: Bert Schneider (as Blue Andre)
Wallace C. Bennett .... script supervisor (as Wally Bennett)
Peter Broderick .... special assistant to director
Michael Burns .... assistant to producer
John Chesko .... assistant to producer
Leslie Cox .... assistant to producer
Joe Dodds .... wrangler
Reg Glass .... wrangler
Michie Gleason .... assistant to producer
Dixie Gray .... wrangler
Edward Hill .... senior accountant
Nancy Coan Kaclik .... special assistant to director (as Nancy Kaclik)
Chet Luton .... supervising engineer: MGM
Irene Malick .... researcher
Heather McIntosh .... location accountant
Isabella Miller .... wrangler
Peter Neufeld .... researcher
Clenton Owensby .... technical advisor
Dan Perri .... title designer
Rosalia Purdum .... researcher
John Scott .... wrangler
Nathalie Seaver .... researcher
Michelle Shapiro .... production secretary
Marilyn Tasso .... production secretary
Susan Vermazen .... researcher
Bob Wilson .... wrangler
 
Thanks
Chris .... dedicatee
Dauna .... dedicatee
Deborah Eisenberg .... special thanks
Redd Foxx .... special thanks
Jill Jakes .... special thanks
Joseph D. Kelly .... special thanks (as Joe Kelly)
Tom Kobayashi .... special thanks
Stuart Margolin .... special thanks
Roger Mayer .... special thanks
Patrick Norris .... special thanks
Gordon Radley .... special thanks
Bob Rafelson .... special thanks
Greta Ronningen .... special thanks
Walter Rosenblum .... photos courtesy of
Wallace Shawn .... special thanks
Susan .... dedicatee
Ian Underwood .... special thanks
Wallace Wolf .... special thanks
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
94 min
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Dolby (35 mm prints) | 70 mm 6-Track (70 mm prints)
Filming Locations:

Did You Know?

Trivia:
The visual motif of the far-off farmhouse surrounded by wheat fields is reminiscent of Andrew Wyeth's 1948 painting "Christina's World" as well as Edward Hopper's painting "House by the Railroad". It is also reminiscent of Reata, the ranch home of the Benedict Family in Giant (1956).See more »
Goofs:
Audio/visual unsynchronized: At about 7:25 into the movie, we see a bucolic farmyard scene, with a group of white ducks waddling by...yet we hear sound effects of Canada Geese.See more »
Quotes:
Linda:I've been thinking what to do wit' my future. I could be a mud doctor. Checkin' out the eart'. Underneat'.See more »
Soundtrack:
Swamp DanceSee more »

FAQ

This FAQ is empty. Add the first question.
93 out of 122 people found the following review useful.
Healing and Cathartic, 10 February 2003
Author: SanTropez_Couch

Oh, I better come out and say it: I love Terrence Malick. I think he's one of the few filmmakers who has completely and utterly captured filmic form. "The Thin Red Line" was, to me, an astonishing experience; beautiful, horrific and the best movie of the 90s. "Badlands" is the best lovers-on-the-lam movie I've ever seen (it certainly makes "True Romance" look like a gimmicky fraud of a movie). Malick somehow manages to make everything seem painfully beautiful: his landscape, his actors, his dialogue. There's something always elegiac about his movies.

There's a picture of James Dean I saw from his youth -- a baseball team photo -- and the caption said something about how it captured his face, and in it, wisdom and sadness far beyond his years. That's what Malick does in his films and particularly in this film.

He must have been a fan of James Dean (probably one of the reasons he chose to make "Badlands," as a sort of homage), but not in the sense that coolness comes from a perfectly combed coiffure, a red leather jacket (which it wasn't -- it was a windbreaker) and a dark brood. There's a similar story here to that of "Giant," set on a farm with that remarkable house, two men and one girl. Only "Giant" didn't have a philosophizing and very strange little girl. It was also an overblown soap opera and while this film is, I guess, a melodrama, it certainly isn't melodramatic.

If Malick is anyone in the film, he's Sam Shapard; watching his love through a lens. Malick uses Manz as a sort of channel. If this is indeed some fashion of his own story, Malick tells us through her, with he visualized by Shepard, which is a somewhat brilliant approach. Manz is strangely philosophical; at once blunt and abstract. The story is obviously centered around her -- I don't see why this wouldn't be obvious -- but she's pushed into the background, commenting on the characters and informing us like God from above.

As always with Malick, his film is mesmerizing and hypnotic. I was surprised that the film was only a little over an hour-and-a-half. The great Ennio Morricone created a wonderful score for this film that seems to forebode impending doom. Unlike his more famous spaghetti western scores, it's never overly-flamboyant. And the cinematography, listed as belonging to Nestor Almendros, but well-known to be at least substantially contributed to by Haskell Wexler, is so much like an oil painting that it's just about liquid film. I'd be willing to pay a lot of money to see this one on the big screen.

It might seem obvious to state that this film is a transition between "Badlands" and "The Thin Red Line," after all it was the middle film. But this film has moments, especially in the finale, that are surprisingly close to that of "Badlands" and this is the film where Malick fully mastered his approach of lush, visual poetry told at a languid pace that never seems boring, since you're fully within the film;s grasp.

Pauline Kael said in her review that "the film is an empty Christmas tree: you can hang all your dumb metaphors on it." And Charles Taylor, always following Kael's lead (even from beyond the grave), said of Malick's two 1970s films, "Next to the work of Altman, Scorsese, Coppola, De Palma and Mazursky from that period, they're pallid jokes."

What never fails to get me furious is when someone viciously attacks a director, like Malick, for being self-indulgent. Of course it's self-indulgent, he's telling a story that means something to him and trying to share what he feels with us. Malick certainly isn't trying to alienate people, and if you are alienated by his films, well, don't watch them. Malick is a filmmaker like Kubrick, but more fluid and much less abrasive. I mean, if you're going to aggressively attack a filmmaker, aggressively attack someone who is aggressive on his side. Directors like Malick use abstractions to engage their audiences more fully than most. By leaving things -- often feelings -- open to interpretation, the film becomes more intimate.

Certainly one of the most enduring films from the 70s, this is a masterwork.

****

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Message Boards

Discuss this movie with other users on IMDb message board for Days of Heaven (1978)
Recent Posts (updated daily)User
Is this the best film NOT in the top 250? MovieDude1893
More films like this? BERSERKERpoetry
Blessing/Wedding Ecrevain
Did Abby love the farmer? forallpracticalpurposes1
narration was all improvised EJF
Best of Malick's films? symphony_of_apathy
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