This was an interesting movie, to say the least. Mother! is one of those types of movies that some will absolutely despise, while others will enjoy it for just how weird it is. I'm not sure what I think about the movie, but it will certainly stay on my mind for a while.
Darren Aronofsky's mother! sells itself as a creepy, indie horror-thriller, and for a while, that's what it is. By the time you realize it's an allegory, that allegory doesn't so much fall apart as blow its wad, and that's where it will lose audiences. For those not tapping into the metaphor, it just becomes nonsense (going by the very chatty reaction when the lights came on). For those who do, it's too on the nose and robs the film of its interesting ambiguities (some linger, mind you). Still, as a "worst house guests ever" story, it works very well, consistently increasing the main character's malaise, and since Aronofsky keeps the camera with her, the film keeps an emotional immediacy to what is a somewhat intellectual pursuit, and manages a strange and necessary unknowability to the other characters. I think the film also works as a study of creation - motherly, artistic, divine - and the pitfalls of fame, if we allow the allegory to double back on itself once it's revealed. It's gotten a lot of flack, I think in part due to audiences being unready for it (not having the right cultural baggage, hyped by the gossip side-show, expectations set out by the trailer, and/or having difficulty with the abuse heaped on Jennifer Lawrence's character - we had some late walk-outs), but I liked it. I'm just the kind of artsy-fartsy pretentious git who likes this sort of thing. If anything, I wanted it to be more opaque.
6 years ago
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supermario70
This was an interesting movie, to say the least. Mother! is one of those types of movies that some will absolutely despise, while others will enjoy it for just how weird it is. I'm not sure what I think about the movie, but it will certainly stay on my mind for a while.
Siskoid
Darren Aronofsky's mother! sells itself as a creepy, indie horror-thriller, and for a while, that's what it is. By the time you realize it's an allegory, that allegory doesn't so much fall apart as blow its wad, and that's where it will lose audiences. For those not tapping into the metaphor, it just becomes nonsense (going by the very chatty reaction when the lights came on). For those who do, it's too on the nose and robs the film of its interesting ambiguities (some linger, mind you). Still, as a "worst house guests ever" story, it works very well, consistently increasing the main character's malaise, and since Aronofsky keeps the camera with her, the film keeps an emotional immediacy to what is a somewhat intellectual pursuit, and manages a strange and necessary unknowability to the other characters. I think the film also works as a study of creation - motherly, artistic, divine - and the pitfalls of fame, if we allow the allegory to double back on itself once it's revealed. It's gotten a lot of flack, I think in part due to audiences being unready for it (not having the right cultural baggage, hyped by the gossip side-show, expectations set out by the trailer, and/or having difficulty with the abuse heaped on Jennifer Lawrence's character - we had some late walk-outs), but I liked it. I'm just the kind of artsy-fartsy pretentious git who likes this sort of thing. If anything, I wanted it to be more opaque.