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IF A
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L
ong, often remote, unforgettable
and covering unexpectedly familiar
ground, Terrence Malick’s The Tree
of Life is hardly the director’s fi rst fi lm to have
called into existence an army of skeptics who
can’t sit through it. I didn’t notice the people
who walked out of Malick’s 1998 The Thin
Red Line, but I counted four people who left
the theater before The Tree of Life was over.
Maybe it was the dinosaurs. Maybe it
was the voiceovers, breathy whispers about
divinity and family that join with Malick’s
grandiose imagery to suggest that God is
way too busy playing with the fun, exploding
parts of the cosmos to concern himself with
the pain of an individual. (Malick, in turn,
isn’t the least bit concerned with whether
his stately, dreamy fi lm is of interest to your
individual taste.) Maybe it was the sense that
if you were to sit in that theater wrapped in
your own expectations, you would be fi rmly
let down by a fi lm that trades traditional
structure for an impressionistic take on the
damage and duty of family, the beginning
and end of life (on a cosmic and human-
personal scale), and the way sons do and
don’t want to become their fathers.
For all its structural strangeness —
there’s a long, long segment of nature
and celestial images (beautifully created
without CGI) that had me simultaneously
entranced and wondering whether the
same effect could be achieved by watching
the Discovery Channel while listening to
Sigur Rós — The Tree of Life’s central
characters tread familiar ground. Slowly,
dreamily, the fi lm stitches together a story
that’s specifi c to one family, the O’Briens,
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THE TREE OF LIFE
5:00
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OREGON BACH FESTIVAL
presents:
Coming soon:
HOBO WITH A SHOTGUN
IN A BETTER WORLD
POETRY INCENDIES
BACH & FRIENDS
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Terrence Malick’s extraordinary ordinary film
and also a quiet commentary on the way
one generation’s restrictive notions about
gender and behavior can wreak havoc on
the generation that follows. The relationship
between father and son sits at the center
of the fi lm, but Malick spins their lives
around Mrs. O’Brien (Jessica Chastain), a
warm, graceful presence, unable to do much
but watch as her oldest son, Jack (Hunter
McCracken), begins to struggle within the
role his father expects him to fi ll.
The O’Briens are the forebears and
siblings of countless unhappily happy
cinematic families; what’s new about them
is in the deconstructed shape of the fi lm they
inhabit, which trips through pain and growth
with an almost glazed beatifi cness, reverently
scored and barely dotted with humor. When
Malick isn’t staring straight into the family’s
tight-laced heart or following kids as they
try out their fi rst minor rebellions, he’s
surfi ng through nature, returning to a beach,
a rock formation, as if the answers to his
characters’ questions are all there, if only
they would look outside themselves and
their beautiful, tidy homes (impeccably shot
by cinematographer Emmanuel Lubezski).
The Tree of Life is so insular, so specifi c
in its approach, that it’s hard to fi nd the
cracks that let you into the fi lm, which can
feel like a glass bubble of natural perfection
and perfectly fl awed humanity. Malick’s
precise vision is astonishing, but it also left
me asking whether structural and narrative
experimentation sometimes turn a fi lm into
a curio, a thing that gives you a discussion
topic but little more. You may be bored; you
may be awed; you may leave the theater
saying, “That movie made me want to eat
mashed potatoes.” Beautiful, frustrating,
ponderous and self-important, Malick’s fi lm
strikingly sets the uncertainty of childhood,
precisely seen in the eyes of young Jack
O’Brien, and against a journey through life,
the universe and everything.
ew
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Life, the Universe and
Everything
THE TREE OF LIFE: Written and directed by
Terrence Malick. Cinematography, Emmanuel
Lubezki. Music, Alexandre Desplat. Editors,
Hank Corwin, Jay Rabinowitz, Daniel Rezende,
Billy Weber and Mark Yoshikawa. Starring
Brad Pitt, Sean Penn, Jessica Chastain and
Hunter McCracken. Fox Searchlight, 2011. PG-
13. 139 minutes. 44421
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BAD TEACHER (R) - ID REQ'D
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GREEN LANTERN (PG-13)
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Fri. - Sun.445 PM 1045 PM
SUPER 8 (PG-13)
Fri. - Sun.(1055 215) 505 750 1055
X-MEN: FIRST CLASS (PG-13)
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KUNG FU PANDA: THE KABOOM OF DOOM (PG)
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THE HANGOVER 2 (R) - ID REQ'D
Fri. - Sun.(1110 135) 405 640 930
PIRATES OF THE CARIBBEAN: ON STRANGER
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Fri. - Sun.(1035 225) 635 940
FAST FIVE (PG-13)
12:05PM 2:55PM 5:45PM
7:10PM 8:35PM 10:00PM
HOODWINKED TOO! HOOD
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11:25AM 1:40PM 3:50PM
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LINCOLN LAWYER, THE (R)
11:10AM 1:50PM 4:35PM
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PRIEST (PG-13)
11:40AM 2:00PM 4:10PM
7:40PM 10:20PM
RANGO (PG)
11:00AM 1:30PM 4:00PM
6:30PM 9:25PM
RIO (G)
11:15AM 1:35PM
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RIO (3D) (G)
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7:30PM 9:55PM
SOMETHING BORROWED
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11:20AM 1:55PM 4:40PM
7:15PM 9:50PM
SOUL SURFER (PG)
11:05AM 1:45PM 4:30PM
TYLER PERRY’S MADEA’S
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12:10PM 2:45PM 5:15PM
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YOUR HIGHNESS (R)
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BRIDESMAIDS (R) - ID REQ'D
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THE CAVE OF FORGOTTEN DREAMS (G)
Fri. - Sun.435 PM 650 PM 925 PM
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CARS 2 (G) ★
Fri. - Sun.(1245 345) 645 915
CARS 2 IN REALD 3D - EVENT PRICING (G) ★
Fri. - Sun.(115) 415 715 945
SUPER 8 (PG-13)
Fri. - Sun.(145) 445 745 1020
X-MEN: FIRST CLASS (PG-13) Fri. - Sun.(130) 430 730 1030
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EUGENE WEEKLY JUNE 30, 2011 23