In the latest issue of The New York Review of Books, Geoffrey O’Brien has a compelling piece on the new Terrance Malick movie, “The Tree of Life”:
Malick has never shied from grandiosity, and in The Tree of Life more than ever before he risks the humorless and overblown. Into what might in other hands have been the small-scale, melancholy tale—too elliptical even to be called a tale—of the not unusually eventful childhood of a boy in Texas, his two brothers, and his father and mother, he has managed to incorporate the creation of the universe, the origins of life on earth, the age of dinosaurs, and the prospect of future dissolution, with musical accompaniment by the powerful tonalities of Berlioz’s Requiem Mass. But he has made an audacious and magnificent film.
The extreme variations of scale are no afterthought in Malick’s scheme. To show the world in a grain of sand he must first establish what the world is. So he will walk us through the stages and conditions and outer boundaries of human existence, provide a basic introduction to annihilating and fecundating cosmic forces, move freely back and forth in time for lingering glances at birth and death and family and memory as if they were only marginally familiar phenomena, as if no one had ever done any of this before, in a movie at least—and indeed who ever did in quite this head-on fashion? He manages to make childhood (and The Tree of Life is beyond anything else a movie descriptive of childhood) seem a somewhat neglected condition, deserving of reexamination. He is continually trying out different ways of representing acts of perception: the perspective of a child looking up at the adult world, or looking down from some hidden perch, the abrupt rhythm of a child looking quickly at some terrifying outburst of adult anger and then looking away, the sheared-off gaps in editing that can mark a moment as a fresh eternity disconnected from what preceded it.
I have not seen the movie yet and Malick is the kind of filmmaker that drives me to distraction. But he always has something interesting to offer, especially visually, and I’m sure our pal Matt B has seen this. If he says it’s good, that’s enough of a recommendation for me.