Wordless Music Orchestra will perform new score to Terence Malick’s THE TREE OF LIFE at BAM
THE TREE OF LIFE (Terrence Malick, 2005)
BAMcinématek, Howard Gilman Opera House
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
November 18-19, $35-$85, 7:30
718-636-4100
www.bam.org/thetreeoflife
www.twowaysthroughlife.com
Iconoclastic writer-director Terrence Malick had made only five feature films in his forty-plus-year career when The Tree of Life came out in 2011, and it might very well be his best. And now you can see it like never before, as the BAM Next Wave Festival presents it in the Howard Gilman Opera House with a live score performed by more than one hundred singers and musicians from New York City’s Wordless Music Orchestra playing works by Mahler, Berlioz, Brahms, Górecki, Mozart, Tavener, Smetana, Couperin, and others, conducted by Ryan McAdams and featuring Robert Fleitz on piano and sopranos Charles Love and Jennifer Zetlan. Following Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998), and The New World (2005), The Tree of Life is an epic masterpiece of massive proportions, a stirring visual journey into the beginning of the universe, the end of the world, and beyond. The unconventional nonlinear narrative essentially tells the story of a middle-class Texas family having a difficult time coming to grips with the death of one of their sons in the military. Malick cuts between long flashbacks of Mr. and Mrs. O’Brien (Brad Pitt and Jessica Chastain) in the 1950s and 1960s, as they meet, marry, and raise their three boys, to the present, when Jack (Sean Penn), their eldest, now a successful architect, is still searching for answers. The sets by production designer Jack Fisk transport viewers from midcentury suburbia to the modern-day big city and a heavenly beach, all gorgeously shot by cinematographer Emmanuel Lubezki. Every frame is so beautiful, it’s as if they filmed the movie only at sunrise and sunset, the Golden Hour, when the light is at its most pure. The Tree of Life is about God and not God, about faith and belief, about evolution and creationism, about religion and the scientific world. The film opens with a quote from the Book of Job: “Where were you when I laid the earth’s foundation . . . while the morning stars sang together and all the sons of God shouted for joy?” Early on, Mrs. O’Brien says in voice-over, “The nuns taught us there are two ways through life: The way of nature, and the way of grace. You have to choose which one to follow.” Malick leaves those questions open, displaying the miracles of life and death and everything in between as perhaps the only response.
Jessica Chastain, Hunter McCracken, and Brad Pitt star in Terrence Malick’s epic masterpiece, THE TREE OF LIFE
With the help of Douglas Trumbull, the special effects legend behind 2001: A Space Odyssey, Blade Runner, and Close Encounters of the Third Kind — and who hadn’t been involved in a Hollywood film in some thirty years — Malick travels through time and space, using almost no CGI. Instead, he employs images from the Hubble telescope along with Thomas Wilfred’s flickering “Opus 161” art installation, which evokes a kind of eternal flame that appears in between the film’s various sections. Malick rolls the Big Bang, dinosaurs, and the planets into this inner and outer head trip of a movie that will leave you breathless with anticipation at where he is going to take you next — and where he goes is never where expected, originally accompanied by Alexandre Desplat’s ethereal orchestral score, which has been completely replaced for these screenings. But perhaps more than anything else, The Tree of Life, which won the Palme d’Or at the 2011 Cannes Film Festival and was nominated for three Oscars (for Best Picture, Best Director, and Best Cinematography), is about the act of creation, from the creation of the universe and the world to the miracle of procreation (and the creation of cinema itself). Mr. O’Brien is an inventor who continually seeks out patents but always wanted to be a musician; he plays the organ in church, but his dream of creating his own symphony has long been dashed. And Jack is an architect, a man who creates and builds large structures but is unable to get his own life in order. In creating The Tree of Life, Malick has torn down convention, coming up with something fresh and new, something that combines powerful human emotions with visual wizardry, a multimedia poem about life and death, the alpha and the omega. And now you can hear it in a different way as well as this special performance makes its U.S. premiere at BAM’s grand opera house.