The Tree of Life (2011, d. Terrence Malick)
The Tree of Life as a film, as a story, is an enigma. Perhaps it's an allegory of the cosmos, an allusion to the Norse myth of Yggdrasil, an experiment that delves into the grandest parts of the universe and the most microscopic origins of life. Or maybe it's a sort of artistic, nonlinear retelling of the Biblical story of Job or a representation of the Holy Trinity. It's not that this is difficult to figure out, it's that Malick gives so few clues to any of these it could be all of them, or none. And in that ambiguity lies brilliance.
Given that Malick has directed only six films since 1969, it's clear the amount of time and thought that he's put into creating the vision of The Tree of Life. Sort of divided up into "acts", Malick takes the story from the origins of the universe to the creation of Earth to the beginnings of life through the age of the dinosaurs to a neighborhood in Texas in the 1950s. The natural ("science") shots are breath-taking, and a scene with dinosaurs is surprisingly heartfelt. During the scenes shot in Texas, the natural light of day and evenings is soft and beautiful. Malick's eye for the macro- and microcosms is sharp. There is a clear sense of awe for the unstoppable force of nature.
However, the other strong emotion in the story is that of nostalgia. The word "nostalgia" has its roots in the Greek nostos (a return home) and algia (pain, grief, distress). In these scenes Malick explores the truest sense of the word nostalgia--the pain of remembering (returning to) one's childhood home. There are sweet moments--playing on the front lawn in the sprinkler, story time right before falling asleep. But the film takes a darker turn as the oldest son remembers strict discipline and even verbal abuse from his father. We see the son as an adult, still struggling with these memories and the relationships in his life.
I'm not sure if The Tree of Life has a clear plot or a well-defined ending, but for me, it wasn't necessary. The grace and beauty of the film are themselves what matter, not resolution or a happy ending. A friend warned me that this is a film more than it is a movie, which is correct, but it's still worth seeing for its absolute elegance and artistic merit.
8.5/10
Winter's Bone (2010, d. Debra Granik)
As much as The Tree of Life is a lofty film, Winter's Bone has firm roots in the hardscrabble Ozark mountains where life is sparse, difficult, and not for dreamers. The story of this film to me seems much like that of an ancient myth: a girl must find her father in order not to lose her home and her only means of caring for her invalid mother and younger brother and sister. Her journey is arduous, yet it is her burden to bear, and she refuses to give up, even when threatened with physical violence. Although her mission to find her father may not have the outcome she desired, the film does end on a hopeful note, one that I found satisfying for all her adversity.
Jennifer Lawrence's performance as the 17 year old Ree Dolly is outstanding. She's believable as a girl who has undertaken the care of her family but also as a sort of investigator determined to find out the whereabouts of her father. She's devoted and good-humored toward her brother and sister (a scene where she teaches them about hunting rifles is particularly sweet), but strong-willed and determined when it comes to her quest to find her father. She refuses to take no--or no information at all--for an answer. And in the end, her perseverance leads her to find an answer.
Winter's Bone is probably a dark film, both thematically and visually. The landscape of the Ozarks in winter is bleak and brown. But Ree's determination in the face of darkness is a light blazing her way. This is a quietly powerful film, understated but not at all lacking in an excellent story and strong emotion.
9/10
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