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
In September 2018, Criterion Collection released the 189-minute extended version, which restores several vignettes and additional scenes. The additions are as follows:
When Mrs. O'Brien learns of R.L's death in Vietnam, there are more shots of her in the bed. After that, a neighbor's boy brings over some food.
There are additional shots of adult Jack walking around the office building including walking into a masked ball.
Adult Jack visits the museum. He is always accompanied by a woman, while he seems to lose himself more and more in the past.
There is an additional montage of adult Jack encountering shady characters before it ends of him sitting in the airplane in panic.
Steve and R.L look at the chicks that have fallen off from their nest.
An additional vignette of Jack and his mother, which establishes the insight of his activities including lassoing and weeding. Dad then checks on Steve whether if he has finished.
In the dining scene after that, Mr. O'Brien drinks from a bottle of Tabasco.
Mr. O'Brien learns of a mishap that befell his father.
Jack talks to the other boys about his experience with the three-legged dog while the children played with it.
R.L tells his mother that she's not old yet, then while mixing she accidentally mixes with her hand. Jack goes out to the lawn with his father while Mother watches from the inside longer.
The Uncle Roy (Mrs. O'Brien's brother) vignette is put back and his presence excites and makes the three boys happy. However Mr. O'Brien is not happy about his brother-in-law and unceremoniously kicks him out of the house because he makes the boys turn away from him. (Note: This is one of the two longest restored sequences)
Another vignette has Jack and his friend ravaging the latter's house. It is explained this was done in anger he was often mistreated and locked up by his father (an appearance by Ben Chaplin) - this sets up Jack's subsequent change of behavior. Next, a violent tornado storm happens whose devastation can be seen in retrospect. (Note: This is one of the two longest restored sequences)
Jack and his friends hurt other animals and even destroying other people's property.
When Jack goes upstairs, he stares at the bird cage briefly before continues through the floor until he reaches a room that catches his interest.
Jack creates more problems, even in school and even annoys R.L. This eventually leads to his mother having to have conversations with some of the schoolteachers, and she slowly begins to understand where Jack is heading.
When Mr. O'Brien returns, he has a conversation with Jack, aware of his behavior and describes his feelings of his sons. He reveals that he had hepatitis during his work trip in China. He then has a short trip to the lake.
Jack's parents eventually decided to put Jack to a boarding school and his mother explains to him her decision to do so. This somehow has him finding his inner peace in the subsequent scenes in the new school. It also made R.L happy on his own side too. In an additional short scene, his parents had one more moment of time together at the lakeside.
Several additional shots were added when Jack is heading towards the beach, which includes a girl walking among the ruin, people coming out from a building into the open space and more shots of anxious children. Later he is seen walking back to his house.
The closing credits includes additional cast members who only appeared in the new cut.
Fugue [Toccata and Fugue in D Minor, BWV 565]
Written by Johann Sebastian Bach
Performed by Helmut Walcha
Courtesy of Deutsche Grammophon, GmbH, Hamburg
Under license from Universal Music Enterprises See more »
Epic and Exasperating?
Where to even begin with The Tree of Life? Any release from Terence Malick is highly anticipated because, let's face it, "prolific" is not exactly his middle-name. Malick's output of 5 Films in the best part of thirty years makes Stanley Kubrick look like a Roger Corman protégé. Ostensibly, The Tree of Life is the story of a young family growing up in 1950′s Texas. Brad Pitt and Jessica Chastain are the parents of three boys living the suburban life. Whilst, Sean Penn plays the grown up older son reminiscing over these times. Here is where any attempt to continue with a plot synopsis collapses under the weight of the films impressionistic non-linear structure.
The Tree of life is a fundamentally polarising experience of the highest order. There will be those who view it as a mess. A sentimental, art-farty shambles. A two hour long perfume commercial stuffed with "meaningful" abstract shots and scenes. A melange of whispered preposterous platitudes and pretentious, "meaning of life" and infuriatingly glib sentimentality. They'll think it's rambling, mawkish, misjudged, ill-disciplined, lacking any narrative cohesion and packed with the kind of heavy handed-symbolism best left to a 6th form Emo's poetry. They'll think it's the work of a director who's lost the plot up his own arse and submitted a self-indulgent soufflé of a film that'll stretch their patience to breaking point. They will hate it. And, they'll have a point.
There will be others though who view The Tree of Life as an elegiac meditation on memory and grief. They'll think it's a lyrical and visual poem. They'll see discussions of familial remembrance, the friction between father and son, the birth of morality, the Universe and universal truths. They'll see a beautifully meandering and melancholic ode that eschews traditional narrative for a sumptuous visual lyricism that washes over them. They'll be prepared to lie-back and let it take them to more melancholic and meditative shores. They will love it. And, they'll have a point.
Guess, which side I fell on.
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