#060 - The Tree of Life (2011)

Director: Terrence Malick

Writer: Terrence Malick

Runtime: 138 mins.

What can be said about The Tree of Life that wasn't already said in the two years prior to its release?

I'm kidding, but... not really. It's everything you heard it was going to be. It's a sprawling drama that takes on the biggest, yet most simple, themes; it confuses you greatly; it will evoke probably every emotion you have; and yes, there are dinosaurs.

Probably the most frustrating thing about this film (and this is the type of movie that will force people to refer to it as a 'film') is that all the pomp and all the hype completely overshadowed what was a terrifically written and directed story. It's one powerful, genuinely moving narrative film set alongside a separate powerful, genuinely moving abstract film, yet despite what the creators would love for you to believe, the whole is not greater than the sum of its parts.

Let's start with what we can see plainly: Brad Pitt is the Father, a straight laced American head of household who works hard and has grown a very rough exterior. Jessica Chastain is the Mother, his perfect foil, a loving, devoted wife and mother who wants nothing more than to see all the boys in her life succeed. Their sons are Jack (the protagonist of the film), RL (the blond who is really a spitting image of Brad Pitt, perhaps even more of a young Ricky Schroder), and Steve (the one who almost never says or does anything). Jack is tormented by his father's iron fist, his desire to be free, and his lack of faith in his mother's God. RL on the other hand, embodies innocence. He has a gentle spirit and shares a musical bond with his father, which presumably frustrates Jack further.

Sadly, we know from the opening minutes that RL dies at a young age, sending Father, Mother, and Jack all spiraling into deep depression. A well-meaning but ill-spoken neighbor offers, "You still have the other two," in a botched attempt to comfort the Mother. There is a lot of crying and a lot of pleading with God, as the story begins its path down the Book of Job.

Then we meet Sean Penn, who is 50-year old Jack, who, in just ten seconds, we can tell is in a loveless marriage with a beautiful, devoted wife, and who is clearly still distraught over the death of his brother. (Presumably, the events of modern-day Jack occur on the anniversary of his death.) And yes, this is about all that Sean Penn brings to this movie. I'm not even totally sure why he's there.

Then we meet the cosmos, and some single-celled organisms, and some dinosaurs. I'm not totally sure what perspective we're seeing these from, perhaps from Jack, as he is the only character who would hold the evolutionary viewpoint. There is truly beautiful imagery, done by fusing landscape shots with small bits of CGI and a lot of naturally created effects (i.e. blown up shots of microscopic chemical reactions). In this way I felt it was very similar to Darren Aronofsky's The Fountain, which used the same techniques and actually featured a Tree of Life--and was similarly delayed for years during production.

The problem I found with this whole interlude is that it was trying so hard to be evocative, to tell us something greater about the world and about God and about humanity. But it didn't measure up to the rest of the film. Jack's story (his story as a child) is fantastic; it was--and deserved to be--the focal point of the film. But it was complicated by these other things. Flashbacks, flash forwards, dream sequences, imagined afterlife scenes on a beach. I think Malick wants you to believe that this is something revolutionary, something that's never been done before. I'm not claiming to be an expert on this movie, but I've seen plenty of other movies in my life, and this was not unlike anything else. At some point you can say to yourself, "Well, but it's not WRONG if the point they're trying to make is overt." And you'd be right. It isn't necessarily wrong, but what I felt is that there was this really great developing story with Jack as a child, as he says, "wrestling with his father inside his head," and I wanted more anecdotes, I wanted more 'show me, not tell me.'

I enjoyed it. I think it was effective, and beautiful. And kudos to Hunter McCracken, who played young Jack, as he did a marvelous job. And Brad Pitt was good, as well, which is saying something because I don't have the highest opinion of him as an actor. But I think it was his best role since Tyler Durden and Mickey the Gypsy. My complaint would be that it overshadowed itself. Too much abstract, not enough tangible. The interplay between brother-brother and father-son is compelling enough to not bring religion and creation theories into things. But Malick clearly had a specific story he wanted to tell, so tell it he did. And let's hope it brings him some joy, so that he does not lead the same frozen existence as older Jack.