Terence Malick: The Tree OF Life

I totally recommend this strange and beautiful film about a Midwestern family in the fifties whose story is told through the eyes of the eldest son Jack (played by Sean Penn). He looks back on his life, trying to come to terms with his difficult relationship with his father, following the pattern of Grace, that has worked in his family's life - and in the life of the whole world, dinosaurs and all. It's certainly an odd and difficult film, slow at times, especially during the wordless camera shots of nature. But all goes to show man's place within nature and God operating through it all - from the infinitely small cell to the towering mountains. Like most interesting works of art, this one opens up a new question, rather than offering an answer: God, who am I to you? And the whole film is a conversation between many Is and one You. This is why at times, hearing what the characters say to God is a bit like reading the Psalms.

Many have said that Malick's God is pantheistic, but He is most certainly a personal God. The film cam be quite disquieting for the way it represents the enormous disproportion between man and His Creator. Like the quotation from Job in the beginning of the film reminds us: Where were you when I laid the Earth's foundation? But the story relentlessly shows a possibility for man to get close to God, first of all through nature and the wonder that it arises. God is also father, in the Judaic/Christian tradition. And the father-theme is dominant in this film, as well. The question seems to be whether there's a parallel between the father-child relationship on earth and the one in Heaven. The answer is troublesome, since Jack's father - an uncommon Brad Pitt - is a man who wants to love, but doesn't know how. He wants to be called "sir", and believes he can do no wrong. So fatherhood appears like something to escape from (one of the children kills commits suicide), but at the same time like one of the most desirable conditions. The film is very dramatic and doesn't shy away from the question: "What if Evil wins in the end?". But the salvation is equally represented. Represented as it is through imagery and explicit references to Christ, as well as through the delicate and loving mother, played by a brilliant Jessica Chastain. And the end is inequivocably a peacefull and glorious one.
It's true, however, that more than a film about Christianity, it's a film about man's religious sense, about his questions and longing for meaning as he goes experiences life and nature. Most of all, it's a film about the marvel of life. Representing God on film is obviously a difficult task, but Malick is able to do it in a very poetic and personal manner. That said, when I was at the movie theater, a lot of people walked out during the film and claim they absolutely hate it (regardless of their personal beliefs). So it's definitely not for everyone, and not for any day. But to me, it was one of the few films that left me grateful to the director for making it.

The King's Speech

The latest movie starring the great Colin Firth is definitely worth the watch. Tom Hooper's The King's Speech is the true story of George VI of Britain's impromptu ascension to the throne and  his relationship with speech therapist Lionel Logue (the wonderful Geoffrey Rush) and it hasn't earned 12 Academy Award nominations for nothing.The film follows the path of recent British cinema (think The Queen) in revealing the weaker side of its royals, without belittleling them. Firth's great peformance - from the very first scene you can just see the pain in his face as he struggles with his impediment - actually makes his character appear honourable and brave, as he faces the unwanted rule over the British Empire and his paralyzing fear of public speaking. In an era dominated by the radio, when across the channel Hitler is awing arenas with his voice, stammering is no small problem. But the encouraging Lionel Logue is firmly convinced that the stutter can be overcome, if only the patient will believe it. The best scenes are those involving the two main actors during the actual therapy. The difference not only of roles, but of personalities is underlined, but only so that the true closeness that grows between them can shine all the more brightly. Even though the speach sessions range from physical exercises to motivational lessons, bordering on psychoanalysis, the movie is really about friendship and what it can do. Witty dialogue, beautiful photography and an array of brilliant actors (see how many of BBC's Pride and Prejudice performers you can spot) bring this absorbing character study to life. It is the superb acting, in particular that opens up the viewer to a story he may not otherwise be interested in. If, on the other hand, you're always game for a feel-good history lesson - or anything with Colin Firth - then you can't miss it.

Clint Eastwood: Hereafter

If you went to the movies expecting to see Eastwood's take on Sixth's Sense style sci-fi, like some previews might have led you to, you were certainly disappointed. Hereafter is an interesting character-drama that deals with the biggest mystery of all: death. Three stories are interwoven throughout the film and only at the end do they come together. Each story centers around a character who, for some reason, is haunted by mortality: one because of a near-death experience, one for a special 'gift' and one, the endearing little Marcus, because of the loss of the person closest to him. What makes the film special is that all these characters are in desperate need for answers, and the movie doesn't really provide any. Actually, there is an overall message of hope, that is, basically that you're not alone, because your loved ones stay with you, in some mysterious way. But the most important thing the film stresses is the falsehood of living pretending that death doesn't exist. Taking the question about afterlife seriously can only mean, for all these characters, changing the way they live their lives in some way. This is especially obvious with the character of the French journalist, but also the others are affected by death in the way one can only be affected by a fact that touches him personally, and not by thought or abstract speculation. Though it doesn't reach the peaks of Million Dollar Baby or Gran Torino, this movie raises questions that are crucial, without the pretense of offering an easy answer, in a way that is respectful of the mystery dealt with and at the same time compassionate towards the characters. Matt Damon is very convincing as an unwilling medium, as is Cècile De France as the reflective but tough French Journalist, but the most moving scenes involve the young twins Frankie and George McLaren. There are some weak spots, script-wise, like the abrupt exit of Bryce Dallas Howard's character, or the last scene, that isn't quite satisfying. But Eastwood also delivers a spectacular Tsunami action scene - which proves special effects aren't only for 3D aliens - and a range of moods from cheery (the cooking class scenes) to mournful. Hereafter also posesses something that is a rare trait when dealing with such a heavy topic: grace.