Directed by Terrence Malick
Starring Brad Pitt, Sean Penn, Jessica Chastain, and Hunter McCracken
Written by Terrence Malick
Rated PG-13 for some thematic material
138 Minutes
Release Status: In limited release since May 27
Plot: The Tree of Life tells the story of Jack O'Brien's complicated relationship with his father within the context of the entire universe.
Director Terrence Malick's 1998 World War II drama The Thin Red Line exposed movie goers to a valor-less, mindless, and timeless account of the Battle of Mount Austen on Guadalcanal. Instead of heroic violence or noble intentions, Malick's depiction of the Second World War focused on Humanity's disconnection with Nature, a pervading sense of subtle insanity throughout its characters (as well as the conflict itself) and the survival of good in such terrible circumstances. Although it would be hard to say that Malick focused on any one thing, per se (he is known for his rather erratic style, though it evokes more feelings of transcendence than Attention Deficit Disorder), it seemed as if the intent of such thematic and stylistic schizophrenia in The Thin Red Line was to juxtapose horror and calm, war and peace, God and Man, and good and evil. With The Tree of Life, Malick throws similar themes into a context that is both as large as physically possible- the universe- and one that is searingly intimate- a boy's relationship with his father, himself, God, and the forces of Grace and Nature.
"Where were you when I laid the earth’s foundation...while the morning stars sang together and all the sons of God shouted for joy?"
The Tree of Life opens with this quote from the Book of Job, bringing the sense that the film one is about to experience is much more than the intimate domestic story at its core. What follows is a sort of prologue that establishes all of the film's primary focuses. None of the footage is shown in any linear fashion, save for the clips themselves.
In this way Malick's initial organization is fairly confusing, and forces us to hope that the entire movie is not as as seemingly sporadic. However, once the principle narrative of Jack's childhood is underway, all fears are laid to rest as the order becomes chronological. Though in The Tree of Life, Malick's definition of chronological is a bit more literal that most: he really does go from start to finish.
In this way Malick's initial organization is fairly confusing, and forces us to hope that the entire movie is not as as seemingly sporadic. However, once the principle narrative of Jack's childhood is underway, all fears are laid to rest as the order becomes chronological. Though in The Tree of Life, Malick's definition of chronological is a bit more literal that most: he really does go from start to finish.
According to Terrence Malick, the moment of creation begins with an eerie, embryonic collection of colors followed by a slow burst of light. The flame-like looking thing, which is most likely intended to be the Creator, fades away to reveal a post-Big Bang view of the Universe. Wandering lights, refractions, and collections of vibrant celestial colors paint the screen. In this case, Malick has played the role of the Creator, using the Universe as his canvas (though with artistic intent instead of who knows what). These sequences, containing exploding gases, floating planets, and magnificent silhouettes- are mesmerizing. It would be difficult not to be stunned by the sheer poetic magnitude of the events unfolding onscreen.
The Tree of Life then narrows its sights on the origins of terrestrial life. From a fiery volcanic surface comes bubbling pools, and from these the first microbes. Peaceful Jellyfish, deft fish, plants, moss, and even dinosaurs follow suit, though at times the computer animation in these scenes is rather outdated. Being as this is not a movie attempting to flex its digital muscles, any "old" looking visuals are a nuisance in an already taking set of stunning footage.
At this point, Jack O'Brien's childhood becomes the center of the The Tree of Life's Universe. Jack's mother (Jessica Chastain) is the manifestation of Grace, which entails a lifestyle full of passivity and unconditional love. On the other hand, the boys' father (played poignantly by a sinister Brad Pitt) is Nature in all its forceful glory: powerful, demanding, and stern. Put into the context of 1950's suburban Texas Americana, these two characters are not only the bearers of the key motifs of The Tree of Life, but a fitting take of an old time's culture. Stay at home mom Mrs. O'Brien loves her children dearly, and puts up little resistance when any of her children turn rebellious. She aptly represents all the qualities that would fit a divine presence: serenity, love, and femininity (which leads to the notion that she could, in some form, be Mary the mother of Jesus). The crew cut Mr. O'Brien chooses to take his self criticized aspirational inadequacies and convert them to a fearful control over his life. Being one who chose the path of Nature, Mr. O'Brien takes control over what he can.
Undeterred by all of the philosophical inquiries in The Tree of Life, Jack O'Brien's story still takes center stage. His development contains a few staples of what it is to be a morally grey being engaging in a seemingly grey world. Jack struggles with the rebelliousness and confusion of adolescence, as well as taking charge of his own Universal identity despite the pressings of his father.
Given this set up, Jack, as quoted saying "Father, Mother, always you wrestle inside me," brings the viewer into the very conundrum of Human "nature". If the Universe has existed for billions of years, and one's lifetime contains that but less than one hundred, do our choices matter, or even the life that contains them? The Tree of Life makes an enormous effort to explore this question. By integrating pacing (Jack's narrative takes over the vast majority of the running time for a reason), thematic qualities, metaphors galore, and footage that makes life on Earth seem the running definition of beauty, Malick tells us that yes, our lives, the God in them, and the choices we make are indeed important as long as we allow them to be. To make his case, Terrence Malick utilizes idyllic imagery and the oft felt taste of love-born nirvana.
Malick's style is distinct as ever in The Tree of Life. Most of the communication from director to audience is made by wandering visuals instead of dialogue. In fact, much of the talking in the film consists of whispered voice overs. Following suit, there are almost no scenes in the traditional sense; the bulk of the movie is essentially a montage of sorts. Nearly all of the shots in the Tree of Life are moving- not only literally, but fluidly from idea to idea as well. It's as if Terrence Malick somehow developed ADHD throughout filming. Even if the director has befallen such a circumstance, it has paid off well for both he and the viewers. Malick's wonderful images, surely a product of intense Steadicam use, has the capacity to be both mind bogglingly dazzling and searingly painful.
The film's vibrant colors and editing style results in picture that is easy to become lost in. It's entirely worth it, too. For each viewing there is to be a different look at the principle concepts of The Tree of Life. On top of this, the film brings out the wonderment of the world, even if life is so apparently short. The artistry, multilayer nature, beauty, and seamless synthesis within this movie is like few others. If there is one film in 2011 to be declared showing a true artist at work, this is it folks. Not only is The Tree of Life destined to become the defining movie of Terrence Malick's career, but it will also last as a great work of modern cinema.
Midnight Showing...and a Few Hours Later
A perfect movie or close to it. Get off this blog and see this movie immediately.
The Tree of Life then narrows its sights on the origins of terrestrial life. From a fiery volcanic surface comes bubbling pools, and from these the first microbes. Peaceful Jellyfish, deft fish, plants, moss, and even dinosaurs follow suit, though at times the computer animation in these scenes is rather outdated. Being as this is not a movie attempting to flex its digital muscles, any "old" looking visuals are a nuisance in an already taking set of stunning footage.
At this point, Jack O'Brien's childhood becomes the center of the The Tree of Life's Universe. Jack's mother (Jessica Chastain) is the manifestation of Grace, which entails a lifestyle full of passivity and unconditional love. On the other hand, the boys' father (played poignantly by a sinister Brad Pitt) is Nature in all its forceful glory: powerful, demanding, and stern. Put into the context of 1950's suburban Texas Americana, these two characters are not only the bearers of the key motifs of The Tree of Life, but a fitting take of an old time's culture. Stay at home mom Mrs. O'Brien loves her children dearly, and puts up little resistance when any of her children turn rebellious. She aptly represents all the qualities that would fit a divine presence: serenity, love, and femininity (which leads to the notion that she could, in some form, be Mary the mother of Jesus). The crew cut Mr. O'Brien chooses to take his self criticized aspirational inadequacies and convert them to a fearful control over his life. Being one who chose the path of Nature, Mr. O'Brien takes control over what he can.
 |
| Brad Pitt has just been informed that his wife carries the Gingervitis gene. |
Undeterred by all of the philosophical inquiries in The Tree of Life, Jack O'Brien's story still takes center stage. His development contains a few staples of what it is to be a morally grey being engaging in a seemingly grey world. Jack struggles with the rebelliousness and confusion of adolescence, as well as taking charge of his own Universal identity despite the pressings of his father.
Given this set up, Jack, as quoted saying "Father, Mother, always you wrestle inside me," brings the viewer into the very conundrum of Human "nature". If the Universe has existed for billions of years, and one's lifetime contains that but less than one hundred, do our choices matter, or even the life that contains them? The Tree of Life makes an enormous effort to explore this question. By integrating pacing (Jack's narrative takes over the vast majority of the running time for a reason), thematic qualities, metaphors galore, and footage that makes life on Earth seem the running definition of beauty, Malick tells us that yes, our lives, the God in them, and the choices we make are indeed important as long as we allow them to be. To make his case, Terrence Malick utilizes idyllic imagery and the oft felt taste of love-born nirvana.
Malick's style is distinct as ever in The Tree of Life. Most of the communication from director to audience is made by wandering visuals instead of dialogue. In fact, much of the talking in the film consists of whispered voice overs. Following suit, there are almost no scenes in the traditional sense; the bulk of the movie is essentially a montage of sorts. Nearly all of the shots in the Tree of Life are moving- not only literally, but fluidly from idea to idea as well. It's as if Terrence Malick somehow developed ADHD throughout filming. Even if the director has befallen such a circumstance, it has paid off well for both he and the viewers. Malick's wonderful images, surely a product of intense Steadicam use, has the capacity to be both mind bogglingly dazzling and searingly painful.
The film's vibrant colors and editing style results in picture that is easy to become lost in. It's entirely worth it, too. For each viewing there is to be a different look at the principle concepts of The Tree of Life. On top of this, the film brings out the wonderment of the world, even if life is so apparently short. The artistry, multilayer nature, beauty, and seamless synthesis within this movie is like few others. If there is one film in 2011 to be declared showing a true artist at work, this is it folks. Not only is The Tree of Life destined to become the defining movie of Terrence Malick's career, but it will also last as a great work of modern cinema.
Midnight Showing...and a Few Hours Later
A perfect movie or close to it. Get off this blog and see this movie immediately.
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