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A House Is Not a Home: The Farmer's House Holds Passion in Days of Heaven

Terrence Malick’s Days of Heaven begins with a dream for freedom. It’s 1916, and Bill (Richard Gere), like many young men of any era, needs to escape his life. He has responsibilities—a girlfriend, Abby (Brooke Adams); a little sister, Linda (Linda Manz)—and so he also needs to find work. But he just had an altercation on his job, a good job in a steel mill in Chicago, which resulted in the death of the foreman. It was an accident—he didn’t mean to kill him—so Bill sets out for the Texas Panhandle to work crops and to start over. For a white male in the pre–Jazz Age of America, it would be reasonable to see this as a viable plan, as long as you stayed out of trouble. Bill, however, has a quick temper, a quality that does not play well when the work calls for living communally with both your co-workers and their families. In order for Bill not to raise suspicion—he is, after all, on the lam—he tells his co-workers that both Linda and his girlfriend Abby are his sisters. In a way, they are all three orphans in the world without family other than one another, but with long days of work and long nights under the stars for weeks on end, this becomes a charade that they don’t have the stamina to maintain. Once a wealthy farmer (Sam Shepard), who has a terminal ailment that is never quite defined, shows interest in Abby, Bill decides that this may be their ticket to a comfortable life. If only Abby can pretend to love The Farmer until he dies, which would allow her to inherit both his wealth and his beautiful house. It’s a house that cannot be forgotten once seen. It emerges from the fields with the allure and mystery of that black monolith in 2001: A Space Odyssey, and if all goes according to plan, Bill, Abby, and Linda will live there happily ever after.