Reclusive filmmaker Terrence Malick tries to explain the meaning of all existence in “The Tree of Life,” a sprawling, non-linear drama now available on Blu-ray and DVD (but not on Netflix or Redbox until Nov. 8).
The film enthralled some and frustrated more with its fragmented storytelling, minimalist dialogue and lengthy sequences in space and with dinosaurs. Most of the movie, however, follows a young family in the 1950s, with Brad Pitt starring as the stern father to three boys. He’s particularly hard on Jack (Hunter McCracken), the oldest son who grows up to be played by Sean Penn in a few brief but pivotal scenes set in the present day.
There’s an hour stretch of the film that takes place exclusively in the 1950s with loosely connected scenes of Jack’s upbringing and the contrasting relationships he shares with his father and mother (Jessica Chastain). While his mother is more of a nurturing free-spirit who skimps on discipline, his father is determined to teach Jack the skills to survive an unfair adulthood, a worldview he has adopted from his own professional failures.
But wait! Malick isn’t weaving a simple coming-of-age tale. The film opens with the death of one of Jack’s brothers, which takes place sometime in Jack’s early adulthood. “The Tree of Life” then jumps way back to the creation of the universe, leading into the Earth’s formation, the development of primitive life, and the emergence of dinosaurs. Then we get the 1950s and Brad Pitt, and then things get really weird.
An early voiceover tells us the difference between the laws of nature and living life with a sense of grace. The mother is a depiction of grace, and the father represents nature, but neither perspective seems particularly fitting to Jack. Malick’s answer to this comparison lies somewhere in the film’s final 30 minutes, and I’d be lying if I said I figured it out.
“The Tree of Life” is a stunning achievement in both cinematography and sound design. Even as the film takes confusing turns and images seem to come out of nowhere, it’s easy to get lost in the beauty of the mosaic structure.
Malick obviously wrestles with some big themes here. I’m not sure everything comes together as fluidly on screen as it probably does in his own head. He’s a brilliant filmmaker with a palette bigger than the screen can contain.
I wasn’t a big fan of Malick’s last two films, “The Thin Red Line” and “The New World.” While both had stunning visuals and provocative thematic undertones, they didn’t provide much emotional access for the viewer. “The Tree of Life,” in contrast, feels deeply personal, and its depictions of family, love, life and death are much more universal.
Once you accept its intentions and stop looking for a traditional plot, it’s easy to be consumed by “The Tree of Life.” When the end credits began, I immediately wanted to experience it again.
Fair warning: Some viewers won’t make it through the first 20 minutes. I won’t hold it against you.
Grade: A