mother! - Review
Director: Darren Aronofsky
Cast: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer
The marketing campaign for auteur Darren Aronofsky's latest film mother! has positioned the piece as a full-throttle feverish horror depicting a flagrant escalation of a home invasion - but this surface appearance offers only a fraction of the true anarchy that is weaved into the fabric of the film, resulting in one of the most textured, divisive and insane cinematic experiences you'll likely ever encounter.
A poet (Javier Bardem) and his wife (Jennifer Lawrence) live in a blissfully isolated house, both of them spending their days trying to further their individual projects. Their tranquil existence is disrupted by the arrival of uninvited guests at their home and their relationship is tested to extremities.
Lawrence's nameless character (referred to as 'mother' in the film's credits) is a young homemaker and wife to Javier Bardem's character (tellingly referred to as 'Him'), an acclaimed poet with a severe case of writer's block. Whilst he spends his days furiously trying to fathom a semblance of an idea, she puts all of her efforts into renovating the remote, idyllic house that they share together. She is painstakingly precise and passionate about turning the bare bones of their house into a home that can act as the setting for their long, loved-up life. But their relationship is far from picturesque as Lawrence's character is in complete awe and adoration of Bardem's character, catering to his every whim and willing to go to the ends of the Earth to facilitate his artistry. He, however, takes advantage of her sweet nature and often neglects her on the quest for greatness and creation.
This established imbalance reveals itself further with the arrival of Ed Harris' Man, a doctor claiming to have stumbled upon their house after being informed it was a Bed and Breakfast. Him allows the Man to enter and the swiftness at which they form a bond is alarming. Him is suddenly energised and inspired and it's all down to their new houseguest, exacerbating mother's insecurity. The Man's wife, played brilliantly by Michelle Pfeiffer, bulldozes into their house the very next day and completely dominates Lawrence's mild-mannered mother. As Bardem's attention shifts to their unexpected visitors, mother becomes increasingly isolated and her connection with the house she salvaged from the ashes grows stronger. Their hearts beat as one and they co-exist as a single organism, but as the houseguests abuse mother's hospitality and defile the house, both of their hearts turn darker. Weaker. Unable to take the strain of the shocking violation.
Aronofsky's previous work, such as Requiem for a Dream and Black Swan, has been doused with themes that warrant exploration but mother! is arguably his most layered film to date, rich with biblical and environmental allegory that requires discussion. Bardem's character is a creator whose lauded work has amassed him a widely devoted and feverish following. Lawrence's an ideal host; compliant and amenable. However, her accommodating demeanour is exploited by the strangers who show up at her front door and as the volume of uninvited guests increases, so does the chaos. They quickly make themselves comfortable in their self-adopted surroundings and assume a sense of ownership; they begin to redecorate the house, encroach on clearly personal spaces and show no respect for unfinished renovations. Despite mother's pleas, her plight goes ignored by her visitors who persist with their disgusting behaviour, enabled by Him who insists they stay. The metaphor and parallels of Lawrence's mother representing Mother Earth are excruciatingly effective and omnipresent even within the most unassuming of scenes that mask themselves as relationship drama. Mother Earth cries out for us to recognise the pain we are inflicting but her protests fall on deaf and denying ears.
mother! has a narrative voice like no other film and its visual language is just as unique. Everything is conveyed through the point of view of mother and hence the camera is always positioned either on Lawrence's face, over her shoulder or directly at what she's looking at. As an audience, we spend all of our time with the leading lady and Lawrence thankfully captivates our attention for the entirety in a career best performance. She is utterly uninhibited and plunges into emotional depths she has never before chartered. She is raw and vulnerable, acting as the music in this scoreless feature as we follow her through the house as she tries in vain to sustain the paradise she created. Bardem is also excellent and the dynamic between the two characters, brought to life by their actors, arguably present new themes that Aronofsky may not have initially considered or strived to communicate; false idols and celebrity, the mistreatment of women or the exposing of a private relationship into public domain. mother! can be read on many levels but regardless of your interpretations, the feelings attached to those understandings will be strong.
Ironically, mother! is a film that almost screams out for a second viewing in order to untangle all of the emotions it elicited upon the first watch. But for some, it'll be an experience not desired to be repeated. mother! is assaulting, incendiary, metaphorically charged and a timely message that will continually be analysed and studied in years to come. mother! is a masterpiece.
EB
Cast: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer
The marketing campaign for auteur Darren Aronofsky's latest film mother! has positioned the piece as a full-throttle feverish horror depicting a flagrant escalation of a home invasion - but this surface appearance offers only a fraction of the true anarchy that is weaved into the fabric of the film, resulting in one of the most textured, divisive and insane cinematic experiences you'll likely ever encounter.A poet (Javier Bardem) and his wife (Jennifer Lawrence) live in a blissfully isolated house, both of them spending their days trying to further their individual projects. Their tranquil existence is disrupted by the arrival of uninvited guests at their home and their relationship is tested to extremities.
Lawrence's nameless character (referred to as 'mother' in the film's credits) is a young homemaker and wife to Javier Bardem's character (tellingly referred to as 'Him'), an acclaimed poet with a severe case of writer's block. Whilst he spends his days furiously trying to fathom a semblance of an idea, she puts all of her efforts into renovating the remote, idyllic house that they share together. She is painstakingly precise and passionate about turning the bare bones of their house into a home that can act as the setting for their long, loved-up life. But their relationship is far from picturesque as Lawrence's character is in complete awe and adoration of Bardem's character, catering to his every whim and willing to go to the ends of the Earth to facilitate his artistry. He, however, takes advantage of her sweet nature and often neglects her on the quest for greatness and creation.
This established imbalance reveals itself further with the arrival of Ed Harris' Man, a doctor claiming to have stumbled upon their house after being informed it was a Bed and Breakfast. Him allows the Man to enter and the swiftness at which they form a bond is alarming. Him is suddenly energised and inspired and it's all down to their new houseguest, exacerbating mother's insecurity. The Man's wife, played brilliantly by Michelle Pfeiffer, bulldozes into their house the very next day and completely dominates Lawrence's mild-mannered mother. As Bardem's attention shifts to their unexpected visitors, mother becomes increasingly isolated and her connection with the house she salvaged from the ashes grows stronger. Their hearts beat as one and they co-exist as a single organism, but as the houseguests abuse mother's hospitality and defile the house, both of their hearts turn darker. Weaker. Unable to take the strain of the shocking violation.
Aronofsky's previous work, such as Requiem for a Dream and Black Swan, has been doused with themes that warrant exploration but mother! is arguably his most layered film to date, rich with biblical and environmental allegory that requires discussion. Bardem's character is a creator whose lauded work has amassed him a widely devoted and feverish following. Lawrence's an ideal host; compliant and amenable. However, her accommodating demeanour is exploited by the strangers who show up at her front door and as the volume of uninvited guests increases, so does the chaos. They quickly make themselves comfortable in their self-adopted surroundings and assume a sense of ownership; they begin to redecorate the house, encroach on clearly personal spaces and show no respect for unfinished renovations. Despite mother's pleas, her plight goes ignored by her visitors who persist with their disgusting behaviour, enabled by Him who insists they stay. The metaphor and parallels of Lawrence's mother representing Mother Earth are excruciatingly effective and omnipresent even within the most unassuming of scenes that mask themselves as relationship drama. Mother Earth cries out for us to recognise the pain we are inflicting but her protests fall on deaf and denying ears.
mother! has a narrative voice like no other film and its visual language is just as unique. Everything is conveyed through the point of view of mother and hence the camera is always positioned either on Lawrence's face, over her shoulder or directly at what she's looking at. As an audience, we spend all of our time with the leading lady and Lawrence thankfully captivates our attention for the entirety in a career best performance. She is utterly uninhibited and plunges into emotional depths she has never before chartered. She is raw and vulnerable, acting as the music in this scoreless feature as we follow her through the house as she tries in vain to sustain the paradise she created. Bardem is also excellent and the dynamic between the two characters, brought to life by their actors, arguably present new themes that Aronofsky may not have initially considered or strived to communicate; false idols and celebrity, the mistreatment of women or the exposing of a private relationship into public domain. mother! can be read on many levels but regardless of your interpretations, the feelings attached to those understandings will be strong.
Ironically, mother! is a film that almost screams out for a second viewing in order to untangle all of the emotions it elicited upon the first watch. But for some, it'll be an experience not desired to be repeated. mother! is assaulting, incendiary, metaphorically charged and a timely message that will continually be analysed and studied in years to come. mother! is a masterpiece.
EB
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