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The Tree of Life 2011 123movies

The Tree of Life 2011 123movies

Nothing stands still.May. 17, 2011139 Min.
Your rating: 0
7 1 vote

Synopsis

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The impressionistic story of a Texas family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith.
Plot: The impressionistic story of a Texas family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father. Jack finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith.
Smart Tags: #childhood #strict_father #waco_texas #1950s #death #loss_of_innocence #growing_up #grief #cosmos #children #boy #apology #death_of_boy #envy #bullying #machismo #ice_cube #childbirth #mourning #death_of_brother #domineering_father


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Ratings:

The Tree of Life 2011 123movies 1 The Tree of Life 2011 123movies 26.8/10 Votes: 172,293
The Tree of Life 2011 123movies 3 The Tree of Life 2011 123movies 284%
The Tree of Life 2011 123movies 5 The Tree of Life 2011 123movies 285/100
The Tree of Life 2011 123movies 7 The Tree of Life 2011 123movies 26.7 Votes: 2441 Popularity: 15.793

Reviews:

Terrence Malick’s The Tree of Life is an attempt to inject some cosmic wonder into the most mundane American story.

In the 1950s, two parents bring up three boys in an American white middle-class, small-town existence. The mother (Jessica Chastain) radiates love and warmth, while the father (Brad Pitt) feels the obligation to be cold and distant in order to prepare his sons for the cruel world that awaits them. As we are informed at the beginning of the film, sometime during this mid-century upbringing, one of the boys would eventually die. We are also shown flashfowards to the present day, when the eldest son Jack, now a successful architect working in New York City, reflects on the death of his brother decades ago. There is very little conventional spoken dialogue in this family drama. The story is told through voiceovers on top of a rich series of images, these monologues representing the inner thoughts, doubts and fears of the characters.

But Malick adds something on top of this, one of the most controversial turns in Hollywood filmmaking in recent years. Early on we are treated to a depiction of the creation of the universe and of life on Earth, from the initial clouds of gas right after the Big Bang to small nebulae, then big galaxies like our own Milky Way, the Earth as an inchoate ball of lava, life arising in tidepools, and then into the era of the dinosaurs. These special effects were created by Douglas Trumbull, best known for the cosmic visuals of 2001: A Space Odyssey. The titles of the film quote from the Book of Job: “Where were you when I laid the foundation of the earth, when the morning stars sang together?”

I get what Malick is trying to do here, that is, to show that the trials and tribulations of an individual human life are part of some vast unknown plan. Nonetheless, while I can understand this on an intellectual level, the film does not seem to reconcile the two layers into a single coherent plot. The film is indeed a visual feast on a first viewing (a high-definition release watched on a projector is nearly as stunning as 2001), but the The Tree of Life is much harder to sit through on a repeat viewing when one knows that it doesn’t quite hang together. Furthermore, as thought-provoking as the story of the boys’ 1950s upbringing is, the last part with its scenes of petty delinquency goes on forever and should have been cut. Finally, the ending which I won’t spoil here is a total trope, not at all a fresh take on the meaning of life.

At a time when Hollywood is widely regarded as stagnant, I can appreciate a director like Malick who seeks to do something unexpected, but I find The Tree of Life to be rather a noble failure.

Review By: CRCulver Rating: 6 Date: 2018-09-01
A movie that wants to mean more than what is actually telling.

Taking a lot of things borrowed from 2001, it doesn’t even come close to have such a deep an interesting meaning.

Review By: Andres Gomez Rating: 5 Date: 2013-11-29
Emptying out, in search of the true face
With Malick I usually come away with few things, simple wonderings about meaning and the desire to transcend. But there is something here worth talking about, a wondering that I believe matters. It is about the great lie upon which we have placed all our hopes and has fed us only suffering. It includes god but goes beyond, way beyond.

Those of us in the West trace it back to Descartes, the foundation of what we call our Enlightenment. The title of the 1641 book where he tells us that we are because we think translates as “Meditations touching the first philosophy in which the existence of God and the distinction between the body and soul are demonstrated”. Imagine the yawning breach with the natural world that gives us to itself at birth; we posit that we are because we think, not because we simply are! This alone reveals it; a distinction between body and soul (and how the concept of God is born from it, in a mind that regards itself as separate from its vessel), that has produced a culture that considers everything a commodity, that revolves around pleasing the needs of one or the other. And about us perceiving things as what we are in need of and by our ideas of them.

The imaginary conundrum of duality goes way back, it’s what the film starts with. A distinction between the way of nature and the way of grace, again body and soul. Implying there is no grace in the first and that a way of grace cannot be found in what we readily observe around us, in how the world simply presents itself to us (which includes our body and what sensations appear in it – either considered impure or to satiate), but needs to be separately thought by us. The nuns told us; about a world devised from nothing in the creator’s own good time, and us separately placed in it, even created in a separate day from the rest of creation, to atone for an original sin.

This is the worldview we are born into. A world itself as punishment, which we are called to subdue to our satisfaction. Modern science has done little to improve it, only now we explain away in order to subdue and have replaced one creation myth with another.

Now both ways created by Malick, so that we can see where the lie begins. The creation of creation, from the Bing Bang onwards, rendered with overblown Wagnerian crescendos like what Kubrick did 40 years ago. Malick shows us here that mercy exists among the predators. And then us separately born into creation. The first words uttered by the infant are “it’s mine”, the first words uttered by the father a lesson to his young son about the imaginary line that separates his garden from the neighbor’s and never to cross it.

In the second half of the film we get a few codas on what destructive illusions have evolved from these notions. How we should strive to obtain and subdue until satisfied, and to admit otherwise is weakness. And how the pursuit never satisfies the hunger, but only leads us to imagine a lacking in what we already have. And how we desperately cling to things, things felt as either ours or to be made ours, even as we know that they will come to pass.

But at the absence of the fatherly authority, we see how the kids become an aimless mob. And how the violence trickled inside the kid, eventually poisons and erupts.

Over the course of all this, we get Malick’s tricly soliloquy that has always been the easiest to attack. “Was I false to you?”, “forgive us”, “where have you gone?”. It’s not my favourite aspect of his work, but I truly believe he’s a feather-brained bard and deeply means it.

The rest is in the finale. It’s not so much about closure that restores balance, but a process of emptying out and letting go of what has poisoned the soul. So that upon transcending the illusions of duality, remains only the unbound sentience of the world giving itself back to us.

Pitt is terrific in this, in ways he hasn’t been before (compare to Ben Button that strived for a similar somber effect). But what truly stands out is the boy and the look of grief piling inside.

Malick tells us about his parents fighting inside of him, this is the great war in nature. Who of the two to become, without betraying the other? The one who loved harshly because he wanted his kids to have, or the one who loved tenderly but did nothing to alleviate the suffering in her own home.

So these are the two natures as falsely taught to us by the ‘nuns’, one as cautionary warning, the other to aspire to. The father as embodiment of the “nature that only wants to please itself”, but that nature is only our false notion of a self, an ego that expects to be pleased. A tree doesn’t please itself when it’s watered, it takes only what it must to grow into what it has potential to be.

And the mother’s way of grace that stoically accepts, also false because it accepts without complaint the injury of the innocent. The mother allows by her passive stance both her children and her husband to remain unhappy. So, who to be eventually, as grown men who have lived so long with grieves that are not ours?

Zen Buddhism hints at this and goes beyond, with its koan of koans (the enigmatic phrase that doesn’t have an apparent answer yet demands one by the initiate, meant to tie his tongues in silent meditation); Zen Master Huìnéng asks, “Without thinking of good or evil, show me your original face before your mother and father were born”.

Something to meditate upon.

Review By: chaos-rampant Rating: Date: 2011-07-08
Nature and Grace
Greetings again from the darkness. Rare are the times that I find myself lacking words to express my opinion on a movie just watched. But writer/director Terrence Malick does not play fair. First of all, what director makes five films in 40 years? Who makes a film about CREATION, life, evolution, spirituality, death and existence? What director seems to thrive when no real story is needed to make his points? Which director can so mess with the viewer’s head through visual artistry never before seen on screen? The answer to these questions, of course, is Terrence Malick. And I hold him responsible the fact that I remain in somewhat of a semi-conscious fog four days after watching his latest masterpiece.

Any attempt to explain this film would be futile. It is so open to interpretation and quite a personal, intimate journey for any viewer who will free themselves for the experience. What I can tell you is that much of the film is focused on a typical family living in small town rural Texas in the early 1950’s. Brad Pitt plays Mr. O’Brien, the stern disciplinarian father and husband to Jessica Chastain’s much softer Mrs. O’Brien.

Near the beginning of the film, we get Mrs. O’Brien as narrator explaining that when she was a child, the nuns informed that in life one must choose between Nature and Grace. Nature being the real time of real life, whereas Grace is the more spiritual approach. Clearly, Mr. O’Brien has chosen Nature, while his wife embodies Grace. Watching their three boys evolve in this household is quite a treat – and is done with so little dialogue, it’s almost shocking to the senses.

One of the many things that jumped out at me was the set and production design of Jack Fisk. Mr. Fisk is a frequent collaborator with Mr. Malick and is also the husband of Sissy Spacek, who starred in Malick’s first film Badlands. Unlike many films, I did not have the feeling I was watching a film about the 50’s. Instead, the look is directly IN the 50’s … slamming screen doors, tree houses, and family supper time! But don’t think for a moment that this is a story about the O’Brien’s and their sons. This family is merely Malick’s vessel for showing the earthly connections between the universe and each of the particles within. If you think this sounds a bit pretentious, you should know that Mr. Malick graduated from Harvard with a philosophy degree, became a Rhodes Scholar at Oxford, and a professor at MIT. This is a thinking man and an artist.

Actually I would describe the experience as viewing an art exhibit and listening to poetry. It really sweeps over and through you, and takes you on a trip of introspection. So many human emotions are touched – the need to be loved, appreciated and respected. We see the oldest O’Brien son later in life. Sean Penn plays him as a very successful middle aged adult who still struggles with the death of a brother and communication skills learned from his childhood. This is an odd sequence but provided to give balance to the flurry of emotions the younger boy survives.

This was the 2011 Cannes Film Festival Palm d’Or winner and that means little if you don’t open up as you walk into the theatre. It’s a contemplative journey that you can either take part in or fight. My advice is to open up and let this beautiful impression of all life take your mind places it may have never been before.

Review By: ferguson-6 Rating: 9 Date: 2011-06-09

Other Information:

Original Title The Tree of Life
Release Date 2011-05-17
Release Year 2011

Original Language en
Runtime 2 hr 19 min (139 min), 3 hr 8 min (188 min) (Extended Cut)
Budget 32000000
Revenue 54674226
Status Released
Rated PG-13
Genre Drama, Fantasy
Director Terrence Malick
Writer Terrence Malick
Actors Brad Pitt, Sean Penn, Jessica Chastain
Country United States
Awards Nominated for 3 Oscars. 116 wins & 129 nominations total
Production Company N/A
Website N/A


Technical Information:

Sound Mix Dolby Digital, DTS, SDDS, Dolby Surround 7.1
Aspect Ratio 1.85 : 1
Camera Arricam LT, Zeiss Master Prime and Ultra Prime Lenses, Arricam ST, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 235, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 435, Zeiss Master Prime Lenses, Dalsa Evolution, IMAX Cameras, Panavision 65 HR Camera, Panavision System 65 Lenses, Phantom HD Gold, Red One Camera (some shots)
Laboratory DeLuxe, Hollywood (CA), USA (also prints), EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate), Laser Pacific Media Corporation, Los Angeles (CA), USA
Film Length 3,794 m (France), 3,824 m, 3,824 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218), 65 mm (also horizontal) (Kodak Vision2 200T 5217, Vision2 500T 5218), Redcode RAW
Cinematographic Process Digital (4K) (source format) (some shots), Digital Intermediate (4K) (master format), IMAX (source format) (some scenes), Panavision Super 70 (source format) (some scenes), Redcode RAW (4K) (source format) (some shots), Spherical (source format)
Printed Film Format 35 mm (Fuji Eterna-CP 3523XD), D-Cinema

The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
The Tree of Life 2011 123movies
Original title The Tree of Life
TMDb Rating 6.7 2,441 votes

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