Terrence Malick's mad and Marvelous film move downs slowly, like some sort of Prototypic spaceship. it's a cosmic-interior heroic of conceited proportions, a admonish to realism, a rejection of irony and comedy, a meditation on memory, and a breath of horror and fear at the mystifying certainty of loving, and losing those we love.
Sean Penn has a basic but little role as Jack, a careworn 21st-century corporate executive who is now disappointed with his life. At the moment of crisis, he is carried back to an joyfully remembered 1950s boyhood in smalltown America. He remembers his relationship with his Hard, authoritarian father, played by Brad Pitt, and the brother who died at the age of 19: the news is brought to his distressed mother (Jessica Chastain) via an official message - the telegraph delivery boy pushes it into her hands and walks quickly away - so he appears to have died on armed service.
Jack Understands that time, far from curative the wounds of loss, only makes them more Dreadful. Along with the dream-lit scene from his childhood, he is vouchsafed unusual visions of geological time and the unknowable reaches of the universe, in rating with which his loss is meaningless.
Brad Pitt dominates the size of the film as Mr O'Brien, who appears on the face of it to be a God-fearing family man with a buttoned-down shirt and flattop, abruptly but honestly in harmony with his gentle, beautiful and profoundly religious wife. Chastain has a commentary at the very beginning asking her sons to prefer God's grace to the beauties of nature, as the true path. But O'Brien is far more complex than first appears: he is heated up with his boys; he respects the cruelness of traditional churchgoing belief, but desires to riches and worldliness, taking out patents in the aeronautics industry and disperse the family's means in the process.
This film is not for everybody, and I will declare I am agnostic about the final sequence, which suggests a closure and a salvation nothing else in the film has prepared us for. But this is visionary cinema on an shamelessly huge scale: cinema that's thinking big. Malick makes an dreadful lot of other film-makers look nervous and undistinguished by comparison.
Sean Penn has a basic but little role as Jack, a careworn 21st-century corporate executive who is now disappointed with his life. At the moment of crisis, he is carried back to an joyfully remembered 1950s boyhood in smalltown America. He remembers his relationship with his Hard, authoritarian father, played by Brad Pitt, and the brother who died at the age of 19: the news is brought to his distressed mother (Jessica Chastain) via an official message - the telegraph delivery boy pushes it into her hands and walks quickly away - so he appears to have died on armed service.Jack Understands that time, far from curative the wounds of loss, only makes them more Dreadful. Along with the dream-lit scene from his childhood, he is vouchsafed unusual visions of geological time and the unknowable reaches of the universe, in rating with which his loss is meaningless.
Brad Pitt dominates the size of the film as Mr O'Brien, who appears on the face of it to be a God-fearing family man with a buttoned-down shirt and flattop, abruptly but honestly in harmony with his gentle, beautiful and profoundly religious wife. Chastain has a commentary at the very beginning asking her sons to prefer God's grace to the beauties of nature, as the true path. But O'Brien is far more complex than first appears: he is heated up with his boys; he respects the cruelness of traditional churchgoing belief, but desires to riches and worldliness, taking out patents in the aeronautics industry and disperse the family's means in the process.
This film is not for everybody, and I will declare I am agnostic about the final sequence, which suggests a closure and a salvation nothing else in the film has prepared us for. But this is visionary cinema on an shamelessly huge scale: cinema that's thinking big. Malick makes an dreadful lot of other film-makers look nervous and undistinguished by comparison.
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