Imagining History and Historical Figures

By Nicholas Alakel

[1] Terrence Malick’s The New World contains numerous historical inaccuracies that some would argue undermine the significance and usefulness of the film as a portrait of American History. The relationship between John Smith and Pocahontas that the film chronicles is largely fiction. Additionally, the voiceovers that are such a crucial narrative vehicle in the film are entirely invented by Malick and his team. However, rather than undermining the historical relevance of the film, these invented internal thoughts add a degree of realism that is largely absent from more conventional histories. The voiceovers prompt viewers to recognize the complexity of the situations faced by historical actors. Figures previously viewed in a two dimensional manner become more vivid and the viewer more able to identify with figures who once seemed distant and remote. Malick’s work, by rejecting the need to strictly adhere to conventional history and utilizing a process of historical imagining, is able to provide a greater understanding of the human condition, the nature of cultural convergence, and the uncertainty associated with such clashes of worlds than would any account relying solely on factual and unimaginative accounts.

[2] Robert Burgoyne argues that the film “portrays history both in terms of the ‘inside’ and in terms of the ‘otherness’ of historical events.” What Burgoyne is referring to by the inside is exactly what is accomplished by Malick through his intricate use of voiceover. Namely, that the interior lives of the characters, their thoughts and anxieties, become visible through this interior monologue. The complexity and realism of historical actors is visible even while the strange and unfamiliar setting of the past properly conveys the sense of “otherness.” This sense of “otherness” often blurs and distorts the viewer’s perceptions of a character’s interior since attempts to accurately convey a sense of “otherness” often rely heavily on factual accuracy and preclude the development of the “inside.” However, without some sense of the interiority of the figures, history, regardless of factual accuracy, loses its usefulness and applicability to the contemporary world. Malick is able to avoid this problem through his depiction of the interior of Pocahontas and John Smith.

[3] As he grows accustomed to life among the natives, Smith’s internal thoughts demonstrate the potential degree and power of cultural difference. Referring to the natives, he thinks to himself, “They have no jealousy, no sense of possession. Real, what I thought a dream.” (0.32.32). What is important here is not necessarily Smith’s interpretation of the natives; rather, it is the thought “Real, what I thought a dream.” The differences across cultures appear to Smith a new reality. Smith’s thoughts allow the viewer to better understand the experience of encountering an unknown and strange culture or reality. Without Smith’s feelings of awe and fascination it would be difficult for the audience to fully realize the magnitude of this cultural difference and the feelings experienced by Europeans upon first encounter.

[4] The internal thoughts of Pocahontas also lend great insight into the vast cultural difference. Additionally, Pocahontas’s thoughts give a voice to the voiceless. Pocohontas’s internal monologue acts as the voice of her people in the absence of dialogue caused by the existing language barrier. This becomes abundantly clear as Pocahontas opens the film with the appeal, “Come, spirit. Help us sing the story of our land. You are our mother; we, your field of corn. We rise from out of the soul of you” (0:00:35). By giving this voice to Pocahontas, Malick assures the viewer that The New World will seek to avoid the Eurocentrism that characterizes many “New World” narratives. The voice Malick gives to the natives through Pocahontas furthers the viewer’s understanding of the cultural difference and additionally introduces the difficulties and uncertainly that arose out of the language barriers.

[5] Even in this initial plea, Pocahontas’s thoughts convey to the viewer the vastness of the cultural difference. Pocahontas’s appeal reveals the strong connection to and deification of nature among the Native Americans. This revelation comes not from the perspective of Smith or the other settlers but from Pocahontas herself. Later in the film, this portrait of the native culture is built upon by Pocahontas’s interaction with Smith in nature and additional internal monologue. As her relationship with Smith develops, Pocahontas is seen wrestling with her emotions and making another appeal to nature. As she roams the pristine wilderness of the “New World” with Smith and as he becomes further accustomed and aware of Native culture, she thinks:

Mother...where do you live? In the sky? The clouds? The sea? Show me your face. Give me a sign. We rise. We rise. Afraid of myself. A god, he seems to me. What else is life but being near you? Do they suspect? Oh, to be given to you . . . you to me. I will be faithful to you. True. Two no more. One. One. I am. I am. (0:36:28)

Not only does this passage from the film further reveal the Native culture, but it demonstrates the sense of uncertainty characteristic of the clash of two cultures and the convergence of worlds. Pocahontas seeks guidance from nature and acknowledges her fear of the changes Smith provokes in her. Later in the film this uncertainty becomes even more evident, and the language barrier becomes even more pronounced.

[6] As Smith warns Pocohantas that he is not who she believes him to be, several audible thoughts characterize the high degree of uncertainty that existed in their relationship and the relationship between cultures. Though she has gained the ability to speak limited English, Pocahontas during Smith’s warning thinks to herself, “What does he say,” “Mean,” “He knows,” and “Where am I” (1:25:24). Language is a major impediment to communication even between two individuals with a unique connection.

[7] Many portrayals of “New World” interaction suspend disbelief and ignore this barrier resulting in the audience’s failure to grasp the difficulties created by such a barrier. Other films simply silence the native voice, leading to a dehumanization of these natives. However, Malick’s use of voiceover avoids both of these issues. The film maintains the historical accuracy of the language barrier while giving the natives a voice.

[8] Though these voiceovers are a fictional creation of Malick and his team, the cultural difference and uncertainty present in the situation would likely have not been as evident to the viewer. In his vivid imagining of character, Malick deviates from historical fact but creates a greater understanding of historical context. Viewers become more aware of the nature of the interaction between the two worlds. Aware of this cultural difference and uncertainty is more crucial to the understanding of the period than knowledge of specific historical events. By focusing his work on such subjects, Malick is able to provide a greater understanding of history through film.