An extract is below, but the full article can be found here:
Like Ridley Scott, Terence Malick, and a few other visually oriented directors of the time, Mann experimented with dispensing with the traditional brackets of narrative and tried to realise story through a kind of running montage. The Keep builds to one of Mann’s most hypnotic climaxes, cutting between Cuza bringing a gleaming talisman out of the cavern, and Glaeken climbing out of the ravine to save the day. The human and elemental dramas dovetail at last when Eva tries to prevent her father from removing the talisman from the Keep, prompting Malasar to demand of Cuza that he kill her and move on. As if in humanistic rewrite of the Abraham and Isaac myth, Cuza turns on the beast and demands of it, “Who are you that I should prove myself by killing my daughter?” before insisting that if the talisman is Malasar’s, he should be able to take it out himself. Infuriated, Malasar reduces Cuza to his crippled state again, but before he can kill Cuza and Eva, Glaeken walks in with his cosmic bazooka to scrub Malasar out, even at the cost of his own life on earth.
Read full article