It would just be dumb not to include this. I have been once accused of being irreverent above all, and I am in danger of proving that here when I say that I find most Malick 2.0 movies to be ridiculous. I do like To the Wonder because it’s pulpy. When I heard that Malick was making The Thin Red Line, I checked James Jones’s book out of the library and sat in my attic sublet poring over it in anticipation of what was to come, and when it came . . . gee whiz but what an overblown lint ball of homoerotic bluster and worthlessness. And: there’s nothing wrong with Badlands. Beautiful, great music, magical pace, great, great acting. An ultimate movie, so good that it’s understandable how the momentum from Badlands alone can propel boatloads of people to believe that The New World has content. Springsteen appropriated Badlands, using its power to artificially light his Nebraska. Tarantino and Tony Scott used it to make the best screwball romantic comedy of modern times, True Romance. Badlands is as close to a perfect movie as I can think of (though I don’t hold perfection as the most desirable of qualities in anything), one that holds something to draw in almost any audience. Even the brutality that might otherwise repel is balanced enough with gentleness and charisma that I wouldn’t squirm watching the movie with a grandparent. Well: children probably shouldn’t see it. Maybe probably.
Will Oldham put Terrence Malick’s film Badlands at number #3 on his Criterion Collection Top Fifteen list.
JEAN-LOUIS DE RAMBURES: Why since 1975 have you set aside novel-writing in favor of autobiography?
THOMAS BERNHARD: I have never written a novel, but merely prose texts of greater or lesser length, and I’m going to take care not to describe them as novels; I don’t know what the word means. I haven’t ever wanted to write an autobiographical work either; I have a genuine aversion to all things autobiographical. The fact is that at a certain moment in my life I got curious about my childhood. I said to myself, “I haven’t much longer to live. Why not try to record my life up to the age of nineteen? Not as it was in reality—there’s no such thing as objectivity—but as I see it today.”
When I was planning the book I envisaged it as a single slim volume. A second one emerged. Then yet another one…until the point when I started to get bored. In the end childhood is always just childhood. After the fifth volume I decided to call it a day. In the case of each my books I’m always torn this way and that between a passion and a loathing for my chosen subject.
Every time my second thoughts get the upper hand, I resolve to give up intellectual pursuits for good and dedicate myself instead to purely material tasks, for example to chopping wood or plastering a wall, in the hope of recovering my good cheer. My dream is of a never-ending wall and never-ending good cheer. But after a stretch of time of greater or lesser length, I once again start to loathe myself for being unproductive, and despair about this drives me to seek refuge in my brain. Sometimes I tell myself my instability is something I’ve inherited from my ancestors, who were a very heterogeneous bunch. This bunch included farmers, philosophers, laborers, writers, geniuses, and morons, mediocre petit-bourgeois types, and even criminals. All these people exist within me, and they never leave off fighting each other. Sometimes I feel like committing myself into the custody of the goose-keeper, at other times into the custody of the thief or the murderer. Because you’ve got to make choices, and every choice means precluding other choices; this round-dance ultimately drives me to the brink of madness. Such that if I make it to the end of my matutinal shaving routine without killing myself in front of the mirror, I have only my cowardice to thank for it.
Cowardice, vanity, and curiosity are the three basic and essential impetuses to life, the things that keep it moving along, even though every conceivable rational argument gainsays this movement. At any rate, that’s the way it seems to me today. Because it may very well happen that tomorrow I’ll think something completely different.
From an interview with Thomas Bernhard originally published in Le Monde. The English translation is by Douglas Robertson. You can read the entire translated interview at his blog.
Biblioklept 