The New World

2005

Action / Biography / Drama / History / Romance

59
Rotten Tomatoes Critics - Certified Fresh 63% · 191 reviews
Rotten Tomatoes Audience - Spilled 58% · 100K ratings
IMDb Rating 6.7/10 10 89486 89.5K

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Plot summary

A drama about explorer John Smith and the clash between Native Americans and English settlers in the 17th century.


Uploaded by: OTTO
April 09, 2012 at 06:38 PM

Top cast

Christian Bale as John Rolfe
Colin Farrell as Captain Smith
Eddie Marsan as Eddie
720p.BLU 1080p.BLU
1.01 GB
1280*720
English 2.0
PG-13
23.976 fps
2 hr 15 min
Seeds 9
1.82 GB
1920*1080
English 2.0
PG-13
23.976 fps
2 hr 15 min
Seeds 19

Movie Reviews

Reviewed by eddie_baggins 9 / 10

A beautiful look at the birth of a nation

Undoubtedly not for everyone, Terrence Malick's slow moving yet quietly powerful and astoundingly beautiful epic The New World is a stunningly realised cinematic experience, that must surely go down as one of the most naturally beautifully and heartfelt pieces of filmmaking ever delivered, as the divisive Texan filmmaker takes us on a ponderous and contemplative trip back to the early America's to tell the true story of Pocahontas and her life filled with love and heartbreak.

Here reviewing the Extended Cut of Malick's film, drawn out to near 3 hours from its 2 and a half hour theatrical cut, The New World is never afraid to bask in its own thoughtful and imagery driven nature and for those that found the original cut too much to handle this is a version of the film you'd do best to steer very far away from but for anyone that has ever found themselves transfixed by Malick's unique filmmaking sensibilities, this stoically paced version of Malick's tale will be a joy to be a part of.

It's hard to put into words just how beautifully put together and hypnotic The New World is should you let it wash over you and take you away in a manner that only Malick at its best can do, as the filmmaker's collaboration with legendary production designer Jack Fisk and renowned cinematographer Emmanuel Lubezki achieves resounding results in this end product.

It's not hard to see the similarities to Lubezki's work here to Oscar heavyweight The Revenant on which he was inspired by The New World from and his collaboration with Malick really is a match made in heaven, as if nothing else, this dream-like experience takes us on a visually splendid adventure to a time and place long since forgone.

Key to the effectiveness and moving nature of Malick's grand vision here however is how his clear affiliation and respect for the story of Pocahontas allows him to deliver one of his most straight-forward and accessible films of his career.

Never officially named in the film as Pocahontas, the Native American princess is luminously brought to life by then first time actress Q'orianka Kilcher, who lights up the film with her verve and energy that combines well with the more solid but grounded work of lead actors Christian Bale and Colin Farrell.

Her turn ranks right up the best turns in a Malick film, up there with Sissy Spacek's unforgettable performance in Badlands and Jessica Chastain's glowing turn in The Tree of Life and while the film may not reach the near perfectly pitched highs of Malick's adored Days of Heavens, Badlands, The Thin Red Line and The Tree of Life, The New World is arguably not far away from being just as quintessential as those works, works that assured Malick would go down as one of the all-time great filmmakers, regardless of the naysayers and unaffected by the more forgettable entries that Malick has delivered over the last decade.

Watching Pocahontas's story unfold before our very eyes as her love for Farrell's John Smith and then Christian Bales John Rolfe takes us on a spellbinding nature filled journey, examining man's place in this world and quest to better our more bloodthirsty and primitively destructive spirits is a cinematic delight, that whilst not perfect, is more affecting and illuminating that so many other cookie cutter offerings that Malick has managed to avoid over an impressively constructed career, driven by projects that inspire and move him and allow us as an audience to be left memorized by the results.

Final Say -

Allowing more time to enjoy the beauty on screen, this extended version of The New World is a must-watch for fans of Malick's work, as the once in a lifetime talent showcases a love story for the ages, that just so happens to act as one of the most eye-capturing films ever shot.

4 ½ kettles out of 5

Reviewed by gavin6942 6 / 10

What You Would Expect From Malick

The story of the English exploration of Virginia, and of the changing world and loves of Pocahontas.

There are, of course, historical issues with this film. Most scholars agree that there was no romantic relationship between Pocahontas and Smith. She would have been 10 years old in 1608 when they were said to have first met. So the whole premise is flawed. But in other areas, such as the attempt to have a native language spoken, some credit ought to be given.

Ultimately, I found the film to be good but somewhat trying. Malick is a strange director. Obviously talented, but he lets his artistic vision go unchecked. And then it starts feeling pretentious. Other directors could be accused of similar issues (David Lynch?), and I suppose it really comes down to artistic preference. My preference does not jibe with Malick, it seems.

Reviewed by JamesHitchcock 7 / 10

Foundation Myth

During the 1970s Terrence Malick directed one excellent film, "Badlands", and one masterpiece, "Days of Heaven". After that he seemed to exile himself from the cinema for a long period, and it was twenty years before his third film, "The Thin Red Line", appeared. There then followed another period of silence, this time for seven years, before "The New World" came out in 2005.

The film recounts one of the foundation myths of American history, the story of Captain John Smith and the Native American princess Pocahontas. Now although both Smith and Pocahontas were undoubtedly both historical figures, the traditional version of the story, telling how she saved his life and how the two then fell in love, may only be legend. The latter part of the story, however, dealing with her marriage to another English settler, John Rolfe, is based upon historical fact.

Even though the romance of the two main figures may only be fiction, albeit a fiction hallowed by long tradition, Malick took great pains over historical details with regard to such matters as costume, weapons, tools and architecture, and shooting took place as close as possible to the site of the original Jamestown settlement in Virginia. He even went so far as to employ a linguist to reconstruct, as far as possible, the now-extinct Powhatan language which would have been spoken by the tribe to which Pocahontas belonged. In other respects, however, the film's accuracy has been faulted, in particular its advocacy of the now- fashionable idea that Native Americans were unselfish, peace-loving noble savages, quite innocent of the vices of the corrupt Old World. (In reality, Pocahontas' father owed his power and exalted position, a position which led the English settlers to regard him as a king rather than a mere chief, to his Powhatan tribe's superiority in warfare over their neighbours).

Some changes to the historical record seem to have been made to make the characters more sympathetic. In reality Smith was not commanded by King James I to mount an expedition in search of the North-West Passage, but the scriptwriters must have needed an explanation for his decision to abandon Pocahontas and return to England, leaving word for her that he was dead; in the 17th century a royal command was something you disobeyed at your peril.

The film is well acted, with notable performances from Colin Farrell as Smith, Q'orianka Kilcher as Pocahontas and (in a smaller but key role) Christian Bale as Rolfe. (Remarkably, Kilcher was only 14 at the time). The relationship between these three can be described as a sort of love- triangle because, although Pocahontas does not meet Rolfe until after she has been wrongly informed that Smith is dead, she still harbours feelings for her former lover. Both the main characters are torn by inner conflicts, Smith between his love for Pocahontas and his duty towards his king and country, and Pocahontas between her love for Smith and her inability to love her husband, whom she knows to be a good and kind man. Her inner conflict becomes all the greater when she realises that Smith is still alive.

As in his first two films, Malick makes effective use of music, with Mozart's Piano Concerto No. 23 taking on the role that was played by Orff's "Gassenhauer" in "Badlands" and Saint-Saëns' "Aquarium" in "Days of Heaven". Although there are some attractive shots, I did not, however, find the film as visually attractive as its predecessors, especially "Days of Heaven" which is notable for its strikingly beautiful photography throughout. In my view, however, the film's main fault is that it is overlong and, in places, too slow-moving. Malick's original 150-minute version was later cut to 135 minutes, but even this seemed too long for a story which could have been told in two hours or less. (I understand that there is also a third, 172-minute version, which has never been shown in cinemas).

The film did not do well at the Academy Awards, only receiving one nomination, but several critics hailed it as a masterpiece. Some of these praised the film in quite extravagant terms. Mick LaSalle of the San Francisco Chronicle said that it "contains some of the best film- making imaginable – some of it beyond imagining" and John Patterson of the Guardian confessed to literally weeping "tears of exultation". I know how these critics felt. I felt like that on watching "Days of Heaven", but "The New World" was never able to move me in the same way. 7/10

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