by Damien Whinnery Terence Malick's art house epic may have simultaneously attracted mockery and adoration, but Tree Of Life could be one of the most ambitious films made to date. Despite having only directed four other feature films over his 40 year career, Malick is known for groundbreaking masterpieces peppered with symbolic flourishes. But with this movie, tackling the subject of the meaning of life no less, it was going to require something extraordinary. The sprawling narrative uses the kernel of a troubled 50s family, bathing it in a vastly encompassing journey through the nature of existence from the beginning of time. With only sporadic dialogue, often heard in fading remarks and whispers, the serpentine story is unfurled mostly through extraordinary imagery; from a sun-bleached Waco Texas to the brooding magnificence of forming galaxies and the birthing, prehistoric earth. There are also affecting, subtle performances from a flawless cast that includes Brad Pitt, Sean Penn and young newcomer Hunter McCracken. It is an arresting piece of work, with Malick's camera – under the guidance of renowned cinematographer Emmanuel Lubezki – capturing the dissonance between the mundanity of the everyday and the profundity of all existence, asking questions about the significance and or insignificance of both. A graduate of Harvard philosophy, Malick quietly introduces a steady stream of huge ideas, some of which are clear while others are lost. This is further complicated by the ambiguousness of major themes, even the fate of its protagonists. There may be applause for the graceful handling of difficult ideas, but that will always have to battle some whispers of cop out. For example, although full of religious references, the film focuses more on the resistance against nihilism despite what we have come to know about the fragility and precariousness of life and experience - important, yes, but it leaves a lot of conflicting perspectives remaining in conflict. It's difficult to criticise the film without being fully aware of the intent behind every scene but some of the more metaphorical sequences seem clumsily obvious while others appear impenetrable. What is definite however is that this is an experience as profound and visually stunning as cinema has yet been capable of delivering. Obviously a labour of intense love, aspiration and passionate intricacy, Tree of Life is as inspirational as it is delightfully confounding. (DW)
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