The Tree of Life (2011)

"The Tree of Life" is not a film. It's a work of art. And as all works of art, it is not entirely understood by anyone except the artist himself, it is not for all hearts (especially for those of a mainstream audience), and produces different reactions and interpretations. It is not that the general public will not understand it, it is just that they will not allow themselves to understand it, because this is not an ordinary cinematic experience, and one that most people do not seek when going to the movies. Yesterday I saw a couple walk out in mid-performance. For myself, I was in awe. Terrence Mallick has been my favorite director for as long as I can remember, coming only second to the great Charles Chaplin in my cinematic adoration. Not yet born when he burst into the american scene with "Badlands" (1973) and "Days of Heaven" (1978, one of my top 5 favorite movies of all time), I have eagerly anticipated seeing "The Thin Red Line" in 1998 (the best war picture of all time, which was his comeback after retiring for teaching philosophy), and "The New World" in 2005. For the last 6 years I have waited and waited for a new Mallick. And here it is, and it's nothing like I have ever imagined. Mallick's films have common elements. Voice off narration, ethereal editing style, hand-held camerawork, relation between man and nature. And all these I expected, and all this appeared right from the start, setting two different scenarios. One in 1950s suburban America, where Brad Pitt raises his 3 sons with an iron fist, trying to make "man" out of them. The other, in the present, where Sean Penn, the last surviving son, is reminiscing about his upbringing. Saying that this is the story is an understatement. Mallick's films are all about emotions, and thoughts, and marvelous photography. Yet suddenly, 15 minutes into the film, all this stops. And then all that Mallick aims is finally revealed. An intoxicating (and for most unbearable) 30 minute sequence shows us the origins of the world. In comparison, "2001"'s the Dawn of Man is nothing. Compelete with the Big Bang and CGI dinosaurs, Mallick shows his audience that this particular piece of art is about life, the meaning of life. True that the movie will eventually lead up to the 10 year old Sean Penn, and eventually dwell there for almost it's entire duration, only skipping to the old Sean Penn right in the end. But focusing on one life, and on one single event, the coming of age of this character, Mallick has given us the most brilliant study ever on life, it's beauty, it's struggles, it's poetry, it's magnificence, in communion with nature, and it's most important value: love. Do not seek for a coherent storyline. Do not seek for thrills nor forced emotions. You will get feelings, tons of feelings, through the magnificent imagery. Every single shot is a work of art. Every single shot is a painting of the greatest beauty. True that Mallick seems to test the patience of his audience. Specially the beginning and end scenes seem to be stretched as far as it's humanely possible to bare. True that the artistic values have completly run down any entretainment ones. But who can argue with beauty? I get the felling that the film could have been immortal had it portrayed the entire life of that young boy, instead of freezing when he is about 10. But this is probably 68 year old Mallick's labor of love, maybe reminiscing on his own memories. This is his philosopher's view on what is life. This is true beauty on screen. "Days of Heaven" is the most beautiful movie ever shot. "The Thin Red Line" is the greatest war movie. Now Mallick completes a trilogy of cinematic beauty. "The Tree of Life" is a compendium of life, the greatest work ever on that subject. The Palm D'Or was inevitable. The Oscars will probably elude. To see "Tree of Life" you have to be free from what you think a movie should be like, and you should shut your brain from entretainment. Just stretch out with your feelings, and you'll begin to grasp a little of what it has to offer. True this is Mallick's most bold and unaccessible work to date, but it can also be one of the most gratifying. Half a day has gone by, and I still think about the movie constantly. I hope the feeling lasts. And Terry... come back soon.