After falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.
A writer indulging in all that Los Angeles and Las Vegas has to offer undertakes a search for love and self via a series of adventures with six different women.
Director:
Terrence Malick
Stars:
Christian Bale,
Cate Blanchett,
Natalie Portman
A theatre director struggles with his work, and the women in his life, as he creates a life-size replica of New York City inside a warehouse as part of his new play.
Director:
Charlie Kaufman
Stars:
Philip Seymour Hoffman,
Samantha Morton,
Michelle Williams
The impressionistic story of a Texas family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith.Written by
alfiehitchie
Dissatisfied by the look of modern computer generated visual effects, director Terrence Malick approached veteran special effects supervisor Douglas Trumbull, who was responsible for the visual effects in 2001: A Space Odyssey (1968), to create the visual effects for the film using bygone optical and practical methods. This marks the first feature film Trumbull has provided the effects for in 29 years, his last being Blade Runner (1982). See more »
Goofs
The O'Briens have a fancy ceiling fan with lights attached in their lounge room; these were not available in the '50s. See more »
Quotes
[first lines]
Jack:
[in a whisper]
Brother. Mother. It was they who led me to your door.
[choir singing dirge]
See more »
Pièces de clavecin, Book II 6e Ordre No. 5: Les Barricades Mistérieuses
Written by François Couperin
Performed by Hanan Townshend
Courtesy of Hanan Townshend See more »
The first thing to say about 'The Tree of Life' is that it is ESSENTIAL VIEWING for anyone who believes that the cinema is a great art, and an early front-runner for 'Film of the Decade'. I first heard about this project in the early 80s when the film world was awash with rumours that Malick had a project that was 'Cosmic, too cosmic even for Hollywood' (John Sayles). And, being a number one fan of Malick's magical realism, I have been metaphorically holding my breath ever since.
Normally, in describing a film one says this is the story of... da da da da. But this film is NOT a story in any but the crudest sense of the word. It is an impression... an impression of a childhood - perhaps Malick's own childhood, which becomes, through Malick's poetry, an impression of childhood itself... of being tactile, of feeling the love of one's parents, of experiencing the arrival of a sibling, of learning to walk... of a thousand things that we take for granted, but are wonderful and shape us more than we can imagine. It is by far the most brilliant evocation of rural childhood that, as far as I can remember, the cinema has ever given us.
This is a film of gesture and movement, of happiness and insecurity, of learning to love and learning to fear. It is unlike any commercial film I have ever seen.... it is as if Stan Brakhage had been given a $100 million budget. The trouble is that Malick may have been too uncompromising. Many, perhaps, sadly, most, of the film-going public, in my experience, find abstraction in films difficult. This is the most abstract film most of them will probably ever see... but it's wonderful and moving and visually stunning. So the question is will they stick with it. With immense sadness, I have to say that I have my doubts.
The much vaunted 'history of the universe' sequence is stunning and is like a poetic editing of all of the most stunning images from science documentaries. It adds even more gravitas to a film that is as philosophically weighty as it is visually impressive. Douglas Trumbull was a special effects consultant and many might immediately think of comparing this sequence with the 'Stargate' climax of 2001: A Space Odyssey.
The film's philosophical/metaphysical weight rests, to some large extent on its deeply ingrained spirituality. Of course, this aspect has been there from the beginning with Malick, but here it is much more up-front. The film charts the paths of a family of characters. In the mother's opening line of dialogue she recounts how 'The nuns told us that there are two ways through life, the way of Nature and the way of Grace.' In the film, the characters show how much the difference between these two paths influences the personalities of the characters and the lives that they lead.
Because of this, it has a profound religious sense but without trace of piety or sentimentality. And if, like me, religion is not your thing, don't worry, the film's wonders do not require belief to reveal themselves.
There remains to be said a few words on Malick's stylistic approach. All of his films are incredibly visually rich, 'The Tree of Life' is no exception. But more important even than this is that large sections of 'The Tree of Life' are made in the magical style that he monumentalised in the two 'abstract' sections of 'The New World' - the love affair between Capt Smith & Pocahontas and the amazing final 20 minutes of the film covering her death. It is this fusion of magnificent meaningful imagery and musical montage that lifts this work to levels barely conceived of by most filmmakers.
'The Tree of Life', for all its wonders, is certainly not perfect as it seems again that Malick's dislike for dialogue has become a thorn in his side, as it was for 'Days of Heaven' and we get some embarrassing pauses as characters wordlessly confront one another or stare meaningfully into the void. It is not the matchless masterpiece to challenge 'Citizen Kane' that I was secretly hoping for, but it is wondrous and moving and unforgettable, a staggering piece of cinema that gives the impression of being immensely more meaningful than it appears at first sight... one just needs to put all of the pieces together... not in the narrative sense, for there is barely any narrative, but connecting up Malick's, 'universal' vision with the images of childhood that he presents. An example here is the confrontation between the two dinosaurs that has a resonance with the relationship between young Jack and his father.
All in all, this is one of those films, where it is more important to let one's psyche experience the incredible richness of the film's emotions, than to try to understand it intellectually - at first viewing, at any rate! (And I am sure that Malick would concur about the experience versus understanding conundrum.)
Finally... it is a very, very good idea to watch 'The New World' immediately before seeing 'The Tree of Life' - on DVD or VOD (if it is not being shown locally by some insightful cinema) because, stylistically, it puts you in the 'right groove' to appreciate Malick's cinematic expression... perhaps THE wonder of modern cinema.
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The first thing to say about 'The Tree of Life' is that it is ESSENTIAL VIEWING for anyone who believes that the cinema is a great art, and an early front-runner for 'Film of the Decade'. I first heard about this project in the early 80s when the film world was awash with rumours that Malick had a project that was 'Cosmic, too cosmic even for Hollywood' (John Sayles). And, being a number one fan of Malick's magical realism, I have been metaphorically holding my breath ever since.
Normally, in describing a film one says this is the story of... da da da da. But this film is NOT a story in any but the crudest sense of the word. It is an impression... an impression of a childhood - perhaps Malick's own childhood, which becomes, through Malick's poetry, an impression of childhood itself... of being tactile, of feeling the love of one's parents, of experiencing the arrival of a sibling, of learning to walk... of a thousand things that we take for granted, but are wonderful and shape us more than we can imagine. It is by far the most brilliant evocation of rural childhood that, as far as I can remember, the cinema has ever given us.
This is a film of gesture and movement, of happiness and insecurity, of learning to love and learning to fear. It is unlike any commercial film I have ever seen.... it is as if Stan Brakhage had been given a $100 million budget. The trouble is that Malick may have been too uncompromising. Many, perhaps, sadly, most, of the film-going public, in my experience, find abstraction in films difficult. This is the most abstract film most of them will probably ever see... but it's wonderful and moving and visually stunning. So the question is will they stick with it. With immense sadness, I have to say that I have my doubts.
The much vaunted 'history of the universe' sequence is stunning and is like a poetic editing of all of the most stunning images from science documentaries. It adds even more gravitas to a film that is as philosophically weighty as it is visually impressive. Douglas Trumbull was a special effects consultant and many might immediately think of comparing this sequence with the 'Stargate' climax of 2001: A Space Odyssey.
The film's philosophical/metaphysical weight rests, to some large extent on its deeply ingrained spirituality. Of course, this aspect has been there from the beginning with Malick, but here it is much more up-front. The film charts the paths of a family of characters. In the mother's opening line of dialogue she recounts how 'The nuns told us that there are two ways through life, the way of Nature and the way of Grace.' In the film, the characters show how much the difference between these two paths influences the personalities of the characters and the lives that they lead.
Because of this, it has a profound religious sense but without trace of piety or sentimentality. And if, like me, religion is not your thing, don't worry, the film's wonders do not require belief to reveal themselves.
There remains to be said a few words on Malick's stylistic approach. All of his films are incredibly visually rich, 'The Tree of Life' is no exception. But more important even than this is that large sections of 'The Tree of Life' are made in the magical style that he monumentalised in the two 'abstract' sections of 'The New World' - the love affair between Capt Smith & Pocahontas and the amazing final 20 minutes of the film covering her death. It is this fusion of magnificent meaningful imagery and musical montage that lifts this work to levels barely conceived of by most filmmakers.
'The Tree of Life', for all its wonders, is certainly not perfect as it seems again that Malick's dislike for dialogue has become a thorn in his side, as it was for 'Days of Heaven' and we get some embarrassing pauses as characters wordlessly confront one another or stare meaningfully into the void. It is not the matchless masterpiece to challenge 'Citizen Kane' that I was secretly hoping for, but it is wondrous and moving and unforgettable, a staggering piece of cinema that gives the impression of being immensely more meaningful than it appears at first sight... one just needs to put all of the pieces together... not in the narrative sense, for there is barely any narrative, but connecting up Malick's, 'universal' vision with the images of childhood that he presents. An example here is the confrontation between the two dinosaurs that has a resonance with the relationship between young Jack and his father.
All in all, this is one of those films, where it is more important to let one's psyche experience the incredible richness of the film's emotions, than to try to understand it intellectually - at first viewing, at any rate! (And I am sure that Malick would concur about the experience versus understanding conundrum.)
Finally... it is a very, very good idea to watch 'The New World' immediately before seeing 'The Tree of Life' - on DVD or VOD (if it is not being shown locally by some insightful cinema) because, stylistically, it puts you in the 'right groove' to appreciate Malick's cinematic expression... perhaps THE wonder of modern cinema.