REVIEW: The Tree of Life

The Tree of Life (2011): Written and directed by Terrence Malick. Starring: Brad Pitt, Sean Penn, Jessica Chastain, Hunter McCracken and Laramie Eppler. Rated PG-13 (some thematic material). Running time: 138 minutes. 

4 stars (out of four)

The Tree of Life, the latest from writer/director Terrence Malick and winner of this year’s top prize at the Cannes Film Festival, seeks to explore nothing less than the existence of God and life itself. The film makes no attempt to hide its artistic pretensions or theological overtones, but it also surprises us in its emotional directness as it follows an American family in 1950s suburbia. This is an ambitious film with great heart to complement its philosophical pondering.

In the opening scenes, we learn about the death of one of the family’s three sons. He was a soldier and has died in battle. Filled with grief, his mother (Jessica Chastain) prays and asks the ever-vexing question, “Why, Lord?”

In an attempt to answer that question, the film takes us back to the beginning of time and we witness the origins of life. As Malick shows us celestial wonders and the development of the first single cell organisms, one might be reminded of the gradual pacing of Stanley Kubrick’s 2001. Indeed, the structure and approach of Malick’s film resembles 2001 in several ways. Both films begin their narratives in prehistoric times and end on decidedly abstract notes. Much like 2001, The Tree of Life contemplates the cosmos in an attempt to understand man’s place in the infinitude.

This portion of the film may get too abstract for some, but the patient viewer will find a wealth of genuinely human moments on the other side of the film’s ambitious prologue. Malick always returns to the humanity of his characters, symbolic though they may be. We see the fragmented memories of an infant, Jack, who grows into an adolescent (Hunter McCracken) and later an adult (Sean Penn) in the present day. As Jack ages, the film’s scenes become longer and gradually, a narrative forms. We learn about Jack’s contempt for his strict and authoritarian father (Brad Pitt), and the jealousy he feels toward his artistically gifted younger brother (Laramie Eppler). These relationships are not revealed in grand, dramatic scenes but through more intimate, familial moments – a conversation at the dinner table, a trip into town.

There is more, but the narrative defies summarization, itself trying to summarize the total experience of life. The film is fascinated by the impossibly large as it meditates on life, the universe and everything, but also takes the time to focus in on the smallest of details.

Each of these details are captured beautifully by Malick and his director of photography, Emmanuel Lubezki. Malick and Lubezki highlight the beauty of the natural world and find similar marvels in our man-made surroundings. The sun peeks through countless shots as the camera continuously moves upward, sky bound. Like the film’s characters, the camera is always looking to the heavens for an answer.

Structurally, the film does not unfold in scenes as much as interwoven moments that are connected by images and ideas rather than plot. Select shots remind us of others that came earlier and Malick invites us to consider all of the previous moments as new ones occur. Pulling these separate moments together, Malick creates a tapestry of life that occasionally drifts through dreams and fantasies with poetic vigor.

The performances in Tree of Life are uniformly strong which is impressive since Malick’s primary focus here is not on acting. Pitt, Chastain, and first-time actors McCracken and Eppler give their characters depth, conveying a great deal through subtle expressions and mannerisms. Many of the film’s major turning points hinge on nuances in the actors’ performances and yet the film never calls attention to the acting. Malick creates the illusion of dropping in on private moments.

At one point in the film, Jack does the same, watching a domestic quarrel through the window of a neighbor’s house, a self-referential moment that provides a key to understanding the film. We catch intimate glimpses of this one family only to find details that recall our own lives. The film captures people during the self-discovery of their humanity and watches as they find those discoveries alternately thrilling and terrifying.

The Tree of Life is a lyrical film that has the ambition and emotional richness of a great novel. It asks the Big Questions: How can God allow for suffering to exist alongside life’s beauties? To what degree should love and faith guide our lives? For what purpose were we created? In short, “Why, Lord?”

- Steve Avigliano, 6/15/11

LIST: The Best Films of 2008

For various reasons, it took me a while to catch up with last year’s releases, and I’ve only just finished watching 2008’s more prominent films. Fortunately, just about all of these movies are now out on DVD for your renting, Netflixing, or I suppose, torrenting pleasure. Since the list is arriving late, I thought I’d make this part 1 of a two-part post. The following are my Top 10 films of 2008, with my favorites of the first half of 2009 to be posted in the coming days.

Honorable Mention - a few films that just missed the list, but I still feel a great deal of respect or affection for:

Doubt for creating drama out of the unsaid and the ambiguous.

Gran Torino because Clint Eastwood growled (and unfortunately sung) in an excellent performance.

Forgetting Sarah Marshall for introducing non-HIMYM fans to Jason Segal’s smart, self-deprecating brand of humor.

Revolutionary Road for its brutal depiction of broken dreams in suburbia.

Synecdoche, New York because it’s confusing, maddening, possibly brilliant -- and I’m still not sure how I feel about it.

And now, the list...

10) Burn After Reading

I never had much intention of seeing Burn After Reading a second time, but it was on TV and thought I’d watch the first few scenes. Ninety-six immensely enjoyable minutes later I realized I had watched the whole thing straight through again. I used to say I wasn’t a fan of the Coen Brothers’ slapstick comedies, but this is a slick ride through a series of misunderstandings, coincidences and absurdities that moves so effortlessly it’s no wonder I didn’t notice I’d watched the whole thing again. Burn After Reading has a fantastic ensemble cast and is the second Coen Brothers film in a row (No Country For Old Men) to feature virtually perfect editing.

9) Slumdog Millionaire

Danny Boyle (Trainspotting, 28 Days Later) proved here that despite working within starkly different genres, he has a kinetic visual and storytelling style all his own. The film bounces from the comedic to the tragic in a touchingly human story that proves the strength of emotion (and game shows) across cultures. Jai Ho all the way.

8) Vicky Cristina Barcelona

This breezy film from Woody Allen may have the feel of a minor work from the prolific writer/director, but it’s not to be dismissed. The film is one the best latter-day Allen films: an examination of interpersonal relationships affected by adultery with a healthy dose of cynicism. Pénelope Cruz steals countless scenes in an Oscar winning role, but it’s Rebecca Hall’s breakout performance that had me hooked. Add some beautiful shots of scenic Barcelona and crackling writing from Mr. Allen and you’ve got a film that is very hard to resist.

7) Waltz With Bashir

This “animated documentary” from Israel follows a filmmaker through a series of interviews in pursuit of memories from his days in the Israeli army during the Lebanon War of 1982. Using a stylish animation (“Not rotoscoping!” insists the animator on the film’s DVD) to bring former soldier’s accounts to life, Waltz With Bashir is an explosion of color and shape. It examines how the human mind deals with war and what happens to those memories years later. An emotional and intelligent film, equal parts war action and psychology.

6) In Bruges

Deepest apologies to Forgetting Sarah Marshall and Pineapple Express (both of which I enjoyed), but In Bruges is my favorite comedy of 2008. The blackest of comedies, this is a foul-mouthed, violent movie about two hitmen killing (pardon the pun) time in the tiny tourist trap of Bruges, Belgium. Colin Farrell and Brendan Gleeson boast the comfort of a classic comedy duo in their banter and Ralph Fiennes shows up at the end for an extended cameo that brings the film to bloody, but oh so wonderful finale. For those who love the politically incorrect or hearing the f-bomb in an Irish accent, a better film doth not exist.

5) Happy-Go-Lucky

A charming character study of the carefree and seemingly air headed Poppy (Sally Hawkins in an energetic and absorbing performance). Largely improvised, Happy-Go-Lucky follows Poppy as she hangs out with her friends, teaches kindergarteners, dates and (most memorably) gets driving lessons from an authoritarian instructor (Eddie Marson). Avoiding a standard plot, writer/director Mike Leigh chooses to follow several threads of Poppy’s life, in an effort to show all sides of her. The final result is not only representative of Poppy’s life, but also rings true on a more basic, human level. It is, at turns, laugh-out-loud funny and quietly poignant.

4) The Wrestler

The fourth film from Darren Aronofsky departs from such highly stylized films as Pi and Requiem for a Dream, choosing instead to simply observe its subjects. The film immerses the viewer in an honest portrayal of the life of a (fictional) former pro-wrestling star, Randy “The Ram” Robinson. Despite the sometimes brutal violence that occurs in the ring, The Wrestler reveals pro-wrestling to be a supportive community of men that share a common interest and the film gets to the heart of what this man wants and needs in his life. I became more emotionally involved in Mickey Rourke’s performance in The Wrestler than any other this year, following his elation and depression with strong emotions of my own. The film examines how people can extend "fake" personas into their personal lives, and the very real effects that result. Exceptionally written, brutally directed and brilliantly acted.

3) Milk

By seamlessly combining historical footage with its dramatized portrayal of gay rights activist Harvey Milk, Milk has an authenticity few biopics possess. Director Gus Van Sant moves the movie at a fast pace, but finds the time to closely examine a man during a politically charged moment in history. Both entertaining and informative, Milk is an enjoyable experience that holds huge relevance for the current times. It also features a superb performance from Sean Penn who always impresses me by absorbing himself so thoroughly in his roles and a strong supporting role from Josh Brolin who has been building an impressive body of work as of late.

2) WALL-E

No other film this year showed more creativity both visually and narratively than WALL-E. It’s a touching story wrapped in an intelligent science-fiction film and might just be Pixar’s finest yet (although I still hold a candle for Finding Nemo). The environmental message never upstages the innocent romance that takes cues from old Hollywood films. WALL-E also pays tribute to such sci-fi classics as 2001. It is a hybrid of all these things, but mostly it’s just irresistibly charming.

1) The Dark Knight

There are very few things I can say about The Dark Knight without resorting to hyperbole or repeating what seem to have become clichés (“the greatest superhero film ever!” “a gripping crime epic!” “iconic!”). All of those things are true, but The Dark Knight gets my #1 spot because it is the most entertaining film this year. Because it is smart and stylish and just plain awesome. Because it has more quotable and memorable scenes than any other movie in recent memory. Because it unearthed an excitement in me not felt since childhood. As a fan of Batman, movies in general, and all of American pop culture, I embrace The Dark Knight with cape-soaring, coin-flipping, pencil-stabbing glee!

- Steve Avigliano, 7/31/09