The Tree of Life

     
     
          Dropped by Jessica Marie
          PG-13, 2 hr. 19 min.
          Drama
          Directed by: Terrence Malick
          Written by: Terrence Malick
          Staring: Brad Pitt, Sean
          Penn, Jessica Chastain
          Released: May 27, 2011
          Fox Searchlight

Back-story:

The Tree of Life has been in limited US theatres for seven weeks now, won the Palme d’Or (Best Featured Film) at the Cannes Film Festival, and caused a cacophony of love or loathing from bloggers and critics alike. Released during the same time frame as movies like Transformers: Dark of the Moon, Bridesmaids, and Bad Teacher, this film from reclusive writer/director Terrence Malick and Fox Searchlight Productions comes to audiences less as a traditional summer blockbuster and more as an invitation to an important conversation.

There is a certain anticipation that precedes Searchlight projects. As the independent subsidiary of media-giant Twentieth Century Fox, their films are entitled to the loftier ideals of an indie film with a fatter budget. Their arsenal includes titles like Juno, Slumdog Millionaire, Little Miss Sunshine, 127 Hours and Black Swan.

Only adding to this anticipation was the fact that audiences would be given another glimpse into the enigmatic mind of writer/director Terrence Malick. A Harvard grad and former professor of philosophy at MIT, Malick is renowned for his ability to construct films that tap into the human consciousness. His sporadic production methods form gaps between films that span years and even decades for a total of six releases within a cumbersome 40 years. Over the years no one could be quite sure when he would venture out of his self-imposed seclusion to unveil another work, but this cautious pace has only added momentum and depth to his enterprises. Never has this been more apparent than now in The Tree of Life, which has been in the makings since the 70s.

The Film:

The Tree of Life outlines the misfortunes of a Midwestern family in the 1950s, but it is much more than a pedestrian tale of patriarchal arrogance and family heartache. Through their story Malick echoes the fragile relationship between humanity and faith as well as love and tragedy, while forcing audiences to reconcile both. Instead of guiding viewers through a linear story, Malick makes us work; he makes us struggle through once-forgotten memories alongside Jack (played as an adult by Sean Penn) as he fights to understand where the innocence of his childhood stopped and the disillusionment of his adulthood began. Scattered recollections, conversations, and internal conflicts are juxtaposed with images of natural and ethereal creation—leaving the audience to draw their own lines of meaning.

This format has pushed away as many viewers as it has attracted. I liken it to a time when a creative writing teacher told my class that stories are supposed to engage the reader, but that doesn’t mean that they all have to be easy. If done right, encouraging the reader to work through a difficult format can actually make the story more meaningful because of the shared struggle with the characters. What seemed as an annoying or un-enjoyable style choice at the time now makes more sense. Malick has crafted a cathartic experience worth the investment.

To say that the film is merely beautiful or breathtaking is limiting. While it is both of those adjectives, it is more than just pretty pictures set to “slideshow” or the portfolio of a National Geographic photographer. Each shot, the real and surreal, is captivating in a way only known if experienced.

The cast is just as impressive as the content. Living only in flashbacks and dreams, Brad Pitt and Jessica Chastain portray the young and hopeful Mr. and Mrs. O’Brien with dignity and grace. The performance of these characters is daunting as they must be able to reflect the epic themes of idealism and stoicism, traits that were so pervasive of families in the era. While their performances can be described as simple, this should never be confused with disappointing or underwhelming. This understated brilliance can also be attributed to the young men who play the brothers. Their attention to detail and emotional investment is clear in each facial expression or hand gesture and helps to structure the deeply personal landscape that defines the film.

Verdict:

As the number of theatres playing the film dwindles, I hope more people jump at the opportunity to see it on the big screen. I’m not trying to sell you on the idea that everyone should love it as much as I do, in fact, I’m relying on the fact that people won’t. That’s the best part about the film: like most monumental pieces of art, as much importance rests on the opinions of those who loved the piece as does on those who hated it. Conflict creates conversation.

Other Recommendations:

Malick’s other self-written and directed films include Lanton Mills (1969), Badlands(1973), Days of Heaven (1978), Thin Red Line (1998), and The New World (2005). While each film received critical acclaim, none more than his classic Thin Red Line with a total of 18 wins and 26 nominations. Malick is also working on another untitled film that is expected out next year.