“The Tree of Life” feels like a natural classic (…to most audiences).

Director: Terrence Malick

Cast: Brad Pitt, Jessica Chastain, Fiona Shaw and Sean Penn.

Release Date: June 30, 2011

When The Tree of Life premiered at Cannes, in May, audiences were left torn about how to appreciate a film which covers so much and says so little at the same time. It is a film that does not shy away from the tough questions about God, death and what the real meaning of life is. And it hopes to achieve all of this through visionary poetry rather than a linear screenplay. So it was only natural that Terrence Malick’s film, his first in six years, received both uproarious applause and noticeable boos, reflecting what most critics feel is a movie that you are either going to love or hate.

However, the Cannes grand jury loved it, awarding it the Palm D’Or (best picture at the festival). And like them, I loved it too. For as I sat at the State Theatre, Sydney for the film’s Australian premiere, I didn’t find any reason to hate it, because what is there to hate when you are swept up in the beauty and magic of life?

To understand the narrative of this film you need to understand the history behind it’s creation. Terrence Malick had the idea for The Tree of Life back in the 1970s, while working on his film Days of Heaven (1978). He originally wanted to explore the origins of life on earth but struggled to find a story that would allow this to be achieved. The Tree of Life is that story as it upholds Malick’s original idea while exploring the lives of the O’Brien family.

The film tells the story of Jack (Sean Penn) who, on the anniversary of his brother’s death, reflects on his childhood in the American suburbia of 1950s and the people who influenced it. As both young and old Jack learn to juggle the conflicting influences of their mother (Jessica Chastain) and father (Brad Pitt), the film explores the notions of God, life and all the moments we miss, when we are not looking.

To me this feels like a near perfect film, as it illustrates a great amount of originality that has not been seen in a very long time. Even with critics comparing it to Stanley Kubrick’s 2001: A Space Odyssey (1968), particularly the origins of life sequence with the infamous dinosaurs, Malick’s focus on the lives of the O’Brien family allows the film to individualise in thematic areas that Kubrick’s film didn’t. This is due to the well constructed screenplay, penned by Malick as well, and the breathtaking cinematography of Emmanuel Lubezki (Sleepy Hollow, Children of Men). Lubezki’s ability to capture both the simplest and most complex events, including the awe inspiring 25 minute origins of life sequence, is utterly captivating and reflects the film’s beliefs around the presence of God within every detail of life. However, full credit needs to be given to musical composer Alexandre Desplat (The King’s Speech, The Curious Case of Benjamin Button). Desplat’s original score lifts every scene with it’s naturalistic sound, complimenting the film’s originality and poetic undertones superbly.

While this is a film that relies heavily on minimal dialogue, the cast still find ways to shine. Brad Pitt is a stand out, balancing Mr. O’Brien’s masculine dominance and subtle vulnerability in a realistic manner. He is a character that you fear but at the same can emotionally feel for, which is a credit to Pitt’s mature performance. However, the only criticism I can find is in Malick’s under-utilisation of Sean Penn, whose appearance feels more like a cameo rather than a full fledging character. But even in his minimal screen time he still maintains a great presence that is enjoyable to watch.

While I loved The Tree of Life, I must stress that this is a film that while divide audiences and, like with the Cannes audience, you will either love it or hate it. But regardless this is a film with a large amount of originality and ambition, which is something that can be agreed upon by all viewers. For that is what makes Terrence Malick such an incredible artist. While you may not agree with his interpretations of evolution, God and life you cannot deny the masterful way in which he executes it. For me the The Tree of Life is a beautiful and poetic journey that captures the true heart and essence of life, and the presence God may or may not have in it. And if you are willing to look a little closer within your own life, you may actually see the truth within Malick’s work.

A balance of scientific intrigue and human emotion, “Project Nim” is A grade material

Director: James Marsh.

Producer: Simon Chinn.

Release Date: Premiere – Sydney Film Festival 2011, Australian Wide – TBA

In On Natural Selection, Charles Darwin wrote, “Nothing is easier than to admit in words the truth of the universal struggle for life, or more difficult.” While Darwin did not write this with any particular animal in mind, his words have strong importance to James Marsh’s new documentary feature Project Nim, an inspirational, heartfelt and tragic exploration of the first chimpanzee to be taught sign language and his consequential life. For as Marsh examines the tumultuous life of one intelligent animal, he asks the audience to consider the universal struggle of all animals when science and human interest take precedence above each creatures natural existence.

Following on from his 2008 Academy Award winning film Man On Wire (Best Documentary Feature) Marsh directs the story of Nim, a chimpanzee who became the centre of a landmark US 1970s’ science experiment which aimed to answer the question regarding nature verses nurture by showing that an ape could learn to communicate through sign language if raised like a human. Exploring his childhood in the adeptly dubbed ‘Project Nim’ and his adult journeys through an unnatural human society, the documentary questions what we really know about the true nature of animals and the impact of our actions upon it.

Documentaries, in general, are hard movies to make, as the right balance of information and story are needed so as to avoid becoming overtly preachy or sappy. However, when this balance is achieved a documentary can become some of the finest pieces of cinema on offer. Project Nim is a clear example of just that. Due to Marsh’s talented directorial skills, the film avoids becoming a stern lecture about the woes of animal exploitation by encouraging the audience to engage with Nim as an equal, rather than just an animal.

Through the intercutting of archival footage of Nim’s life and first hand interviews, Marsh creates an atmosphere whereby the audience doesn’t just learn about Nim’s life but they feel it too. Supported by a perfectly developed musical score by Dickon Hinchliffe, the audience is drawn into an environment where they share Nim’s happiness, fear and pain, while at the same time being enlightened on affect that human intervention had upon all of this. While the audience empathises with Nim’s experiences, the cleverly integrated historical and scientific information reminds the audience that this is not a natural existence and one that could have been avoided. This allows the dramatic brutality of Nim’s later life to really sink in with the audience, in an informative and, largely, emotional way.

For Project Nim is not a straight forward documentary about a scientific project, it is an excellent biography about the life of one incredible chimpanzee. Due to Marsh’s commitment to both the emotional and informative nature of Nim’s story, the audience is encouraged to empathise with Nim on a human level while never forgetting the unnatural influence humanity had upon it. Similar to Darwin’s argument, Marsh confronts the audience with a statement that is both easy and difficult to comprehend. If life is a natural struggle then why are we making it so much harder on animals who are, naturally, no different from us? For if we don’t want to struggle through life, why should they?

For those still unsure about this film, I advise you check out the trailer below. This movie is definitely worth the price of an admission ticket.

Truthful and Confronting, “The Beaver” is a lot more than a two dimensional puppet

Director: Jodie Foster

Cast: Mel Gibson, Jodie Foster, Jennifer Lawrence and Anton Yelchin.

Release Date: July 21, 2011

When Kylie Killen first penned the screenplay for The Beaver, studio executives hoped that this would be one of 2011 biggest comedies, with Steve Carrell set to play a man who adopts a puppet beaver to help him recover from a severe case of depression.

However, Jodie Foster saw more to this story than a two dimensional comedy. She believed that Killen’s at times comical depiction of depression was largely tragic in nature as emphasised the desperate and confronting measures people can go to in order to distance themselves from reality. By opting for a more balanced approach, Foster turned a more-than-likely-flop into a highly compiling drama about the tortuous, comic and confronting issues that not only defines depression but life as well.

Taking over from Carrell, Mel Gibson plays Walter Black, CEO to a large toy company that is going bankrupt, husband to an unhappy wife (Foster) and father to a resentful son (Yelchin). Walter Black is a severely depressed man, living a life that appears completely drained of any form of happiness. That is until he meets ‘The Beaver,’ a discarded puppet who provides Walter with an escape from reality by offering to take over his life. But what value does happiness have if it is not really you who is living it?

The Beaver owes a great deal of its success to the outstanding talents of its director and lead actor. Foster’s masterful direction allows the film to soar as not only an insightful exploration of depression but also of the personas people create in order to disconnect from the reality of their existence. Her balanced focus on the stories of both Walter and his son Porter (Yelchin) illustrates how the issues facing depression suffers can be mirrored within people from all walks of life, while emphasising an important point about the hereditary issues associated with such a condition. While the love story that pursues between Porter and head cheerleader Nora (Lawrence) is at times a little cliched, Foster utilises these lighter moments as a nice reminded that life can still be a beautiful thing regardless of current circumstances.

However, this is Mel Gibson’s movie, with an incredible return-to-form performance that far surpasses anyone else in the cast. Through his engrossing characterisations of both Walter and the Beaver, Gibson illustrates his true professionalism and talent as a lead actor.  If it were not for his career detracting public antics you could definitely expect some awards season recognition.

Although this is not a perfect film, due to a number of timing inconsistencies, The Beaver just seems to work regardless. Through its commitment to a realistic story, the film encourages the audience to not only appreciate the confronting issues associated with depression but also the universal importance of embracing your own reality regardless of how harsh or unbearable it may seem. For it is only through understanding who we are that we can ever really find happiness.

“33 Postcards” that should have been returned to sender

33 Postcards  

Director: Pauline Chan

Cast: Guy Pearce, Claudia Karvan, Lincoln Lewis and Zhu Lin.

Release Date: TBA

The Australian film industry was given a major ego boost in 2010, with the incredible international and local success of films including David Michôd’s Academy Award nominated Animal Kingdom. They’re ability to capture an aspect of Australian life that felt truthful and insightful, both here and around the world, illustrated the power and potential of our ever increasing film market. In 2011, Pauline Chan’s 33 Postcards, the first co-production between China and New South Wales, was set to illustrate, once more, how original and creative the Australian film industry can be. However, this film failed to reach anything close to what should be expected from an Australian drama, by creating a film that was not only tiresome to watch but seemed tiresome to make.

33 Postcards follows the story of 16 year old orphan Mei Mei (Chinese newcomer Zhu Lin), who dreams of leaving her Chinese orphanage in order to meet her Australian sponsor, Dean Randall (Guy Pearce), a typical Sydney-sider living the perfect life. When her Orphanage’s Choir is invited to sing in Sydney, Mei Mei takes the opportunity to seek Dean out and explore the idyllic life he has depicted in postcards for over 10 years. However, what she finds is tragically a lot different to anything she could have possibly imagined.

In many ways this film was a contextually original idea. The concept of exploring the relationships that develop between orphans and their international sponsors is very timely, particularly with the increasing local interest in international humanitarian support and social justice. However, Pauline Chan directs this film with the same level of enthusiasm as an episode of Home And Away or Neighbours. What the audience is presented with is a serious of uninteresting and cliched events, sluggishly propelling forward without any consideration for originality or accuracy. Too much emphasis is placed on the stereotypical, with every character and setting evoking a sense of déjà vu that leaves audience yarning for the predictable ending ahead.

The acting does nothing to alleviate the technical failures of this film. Guy Pearce and Zhu Lin are disappointingly unwatchable as Dean and Mei Mei. Their pseudo father/daughter relationship is completely lost and never able to connect with the audience because neither character feels realistic. Claudia Karvan is the film’s only saving grace, playing a very believable attorney struggling with her own personal and professional demons. However, this would not be hard to achieve as every other character is played like a two dimensional cut from a tourism Australia commercial.

While it is good to see Australian filmmakers attempting more creative and international projects, 33 Postcards fails to do so in a realistic and engaging manner. This was a film that could have provided a lot of insight into an area of great local and international interest but fails to provide the audience with anything original to be interested in. At the end of this film the audience is left feeling like they have watched a rather long soap opera, whose clichéd characters and events were sent directly from Summer Bay.

“Incendies” provides a masterful lesson in the power of the truth

Director: Denis Villeneuve

Cast: Lubna Azabal, Melissa Desormeaux-Poulin, Maxim Gaudette, Remy Girard

Release Date: April 21, 2011

In our day to day lives we make a number of preconceptions about the people around us. We think we know everything about who a person is and why they are that way. But can we ever truly understand another person until we see what they see, until we feel exactly how they feel?

That is the powerful question posed by acclaimed Canadian French director and screenwriter, Denis Villeneuve, in his politically and emotionally charged film, Incendies.

Beginning in Quebec, French speaking Canada, the film follows twins Jeanne and Simon Marwan (Mélissa Désormeaux-Poulin and Maxim Gaudette) who, on the death of their mother Nawal Marwan (Lubna Azabal), receive two letters addressed to their assumed dead father and unknown brother. Under their mother’s will no proper burial can take place until both letters are delivered and her final wish is completed. To honour Nawal, the twins must venture into the heart of their mother’s mysterious past in the religiously torn Middle East of the 1970s, learning that sometimes what we think we know is never completely right.

Adapted from Wajdi Mouawad’s play, of the same name, Incendies, this is not a film for the easily skirmish as the major themes are occasionally overly violent and disturbing. But Villeneuve’s film is utterly compelling, keeping the mystery alive and beating up until the very last scene. His use of Nawal’s story, running parallel to the twins search for answers, provides some of most intriguing scenes, exploring the historical brutality that shaped the Christian/Islamic conflict of 1970s and torn the Middle Eastern community apart.

With difficult material to cover the cast are brilliant, bringing their own unique talents to an array of multilayered characters. Azabal is flawless in her performance as Nawal, successfully balancing her character’s inner struggles with her stoic facade, shaped through years of religious violence and hatred.

While feeling at times a little slow and confusing, especially in relation to the films locations, the deeper meaning at the heart of this film is never lost. Incendies captures the true social impact of religious conflicts and their continual affect on the lives and identities of those who were touched by them. By reversing the audiences preconceived ideas about the Middle East and its history, Incendies illustrates how little we really know about the world and the people who surround us.

This review will also be published in the fourth issue of Vertigo (UTS’ student) magazine, out very soon! Keep an eye out for it.

“The Way Back” for Two Dimensional Characters

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Director: Peter Weir

Cast: Jim Sturgess, Colin Farrell, Ed Harris, Saoirse Ronan

Running Time: 133 mins

The Way Back is a movie ripe with potential. It has a stellar cast who are individually renowned for their powerful performances; it has six time Academy Award nominated Australian director Peter Weir at its helm and it has an inspiring and unique true story about the strength of five men and one woman when faced with brutality and adversity in the harshest conditions on Earth. Still with all this potential the film still does not achieve anything closer to what it could have if more emphasis had been placed on the people inside the story rather than the bipolar environments that act as picturesque backdrops to their struggles.

Based on the true story and subsequent novel (The Long Walk) by Polish POW Slawomir Rawicz, set in the early years of World War 2 the film follows the escape of six POWs from a Soviet Gulag in Serbia and their 4000 mile (6,437 kilometer) walk to freedom in India. Lead by Polish POW Janusz (Sturgess), a character based on the books author, and an American inmate Mr. Smith (Harris), the escapees cross the freezing Serbian wilderness, the dehydrating Gobi desert and the mountainous Himalayas as they learn to trust one another in order to survive.

Russell Boyd’s (Master and Commander) cinematography is nothing short of marvelous, providing some of the most beautiful shots of the vastly different settings. Although, Weir’s overemphasis of these landscapes detracts from the greater story that is driving each of these characters forward. The moments when we are allowed to see the oppressive impact of the Soviet occupation on the individual characters are rather engaging but are very short lived. The majority of the 2 hours and 13 minutes is spent establishing aerial shots of the various locations followed by uninteresting discussions about the environment or overly dramatic pit stops to burry the dead.

The cast perform well given the material, most notably Farrell whose fluency in Russian is not only astounding but a true indication of his high level of commitment as an actor. But due to the little time given to developing each character’s backstory the audience is never given a chance or real reason to invest in them and their journey.

The Way Back could have been one of this years most well crafted and inspiring films but fails due to the lack of importance placed on developing any emotional connection between the characters and the audience outside of the grueling journey they are on. This film leaves you feeling like you have watched a rather drawn out National Geographic special instead of what should have been the inspiring true story of six people’s long walk to freedom.

I wrote this review for the University of Technology Sydney (UTS) student magazine Vertigo for their 2011 first issue. It looked much better published so check out the link below for a virtual copy. It isn’t a bad read either, especially if you are interested or curious about Vajazzling (something which isn’t related or appropriate for discussion on this blog).

http://issuu.com/vertigo2011/docs/vertigo_issue_one