mother!The act of creation is an act of destruction in an endless cycle. mother! follows a pretty, young housewife (Jennifer Lawrence) trying to restore a house out in the isolated countryside along with her older husband (Javier Bardem), a reclusive but celebrated writer and poet; there is an unspoken barrier that exists between them regarding her desire to have a baby. When an older doctor (Ed Harris)--and subsequently his wife (Michelle Pfeiffer)--emerge on their doorstep and impose on their hospitality, the psychological tension manifests in the house itself, as the whole world bleeds into chaos.
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mother! is a psychological horror film that indulges in the claustrophobia of the singular set where the film takes place. None of the characters are named; naming the characters would be arbitrary in this microcosm of increasing madness, and mother! emphasizes bold, vivid psychological reactions more than individual identity. (For the sake of this essay, characters are referred to by the name of the actor.) The house is as much a character in the film as any other--it creaks and groans under the literal weight of the characters that move through its spiraling hallways, as well as under the metaphorical weight of strained hospitality and other existential themes. The house is spiral-shaped--a reoccurring motif in mother!, from the staircase that implausibly reaches up into the lofty heights of the house to a flushing toilet spiraling down into the void. This is a metaphor for the proverbial "turn of the screw", driven deeper and deeper into the mind (and heart) of Jennifer Lawrence's put upon character. Directed by Darren Aronofsky, mother! echoes the films of Roman Polanski, with its unyielding paranoia that escalates from scene to scene through every step of this harrowing journey--one where logic is a paper thin barrier begging to torn asunder. Jennifer's paranoia is similar to the protagonist in Polanski's The Tenant; both occupy a world that seems insane, which begs the question as to whether it is the world that is crazy or our hero/heroine. After Jennifer becomes pregnant, a wave of invaders floods her home, and the claustrophobic insanity that follows recalls the feelings of conspiracy found in Rosemary's Baby. The characters of mother! exist within a "doll house" microcosm, a sensation heightened by the singular setting. The world surrounding the house is green and trees encapsulate the abode like a swaddling cloth--but there is nothing beyond that threshold, as though Jennifer's existence is solely to satisfy Javier's ego. There is a disparity between the "man" and "woman"; the camera stalks Jennifer in a way that is invasive or just a little too close, often following right behind her as she moves around the house. Jennifer is treated like a cipher in her own home, where her purpose to look pretty--a frequently mentioned detail--and to do her utmost to make her husband happy. Jennifer is not genuinely treated as an equal--by her husband or anyone else. She is accosted by strangers who make themselves at home and then make unwanted advances on her. She is made to feel ashamed about the way she dresses in her own home. Her protestations against the rudeness of these visitors is regarded as impudent or absurd. She is talked down to by the older wife (Michelle), who offers her a condescending smirk with her spiked lemonade. This repeated abuse feeds a growing rage in Jennifer, one which is made more sympathetic as her world becomes increasingly insane.
mother! begins as an intimate story between two people, and then blossoms--even explodes--outward to tackle grand and abstract themes in more outrageous ways. The incursion of the older couple leads to a wake that is hosted by the all-too accommodating Javier, who opens his doors regardless of the consequences on his dear wife's sanity and security. Even this innocuous event spirals out of control, and devolves into something deranged and insane, reminiscent of the recent Polish psychological horror movie by Marcin Wrona, Demon. The plot and themes in mother! come from the rituals and stories of Christianity, interpreted through a kaleidoscopic, warped perspective. Jennifer and Javier's wife and husband characters are a bit like Adam and Eve in the Garden of Eden--their "garden" is the house, a place where they are isolated from the world. The way that Ed and Michelle slither their way into their demesne represent the incursion of Satan, unraveling the tapestry of their world. They seem normal enough at first, but become hostile and invasive, pressing Jennifer to lash out in defiance of the "Christ-like" openness which Javier exudes. Ed comes to the house as a pilgrim, the first of many. Other acolytes make the journey because of Javier--his "words" speak to them. His desire to accommodate all of them, however impossible it seems, recalls the miracle of the five loaves and two fish--but this leaves Jennifer stuck with the responsibility of making the miracle happen, and she becomes frustrated at her presumptive husband. A glass rock with fiery veins running through it recalls the Apple of Eden--the object represents an emotional attachment for Javier, and Ed covets it like a leering demon. When Ed and Michelle's sons arrive--played by Domhnall Gleeson and Brian Gleeson--their jealousy for the love (and riches) of their father leads to a fight that mimics the parable of Cain and Abel. Javier considers the house as his and takes all of the credit for the hospitality and kindness offered; he is also willing to sacrifice anything for the love of his devotees. This "selfish selflessness" knows no bounds, and goes to such outrageous and terrifying extremes that it leads to a disturbing scene that evokes the ritual of the Eucharist. Jennifer embodies the point of view of the audience, but exists in a world ruled by Javier. He acts like an irresponsible God, and is indifferent to the suffering of his most devoted worshiper. This makes the most profound terror of mother! an existential one, where people with faith must confront the pain of being taken for granted by those whom they love.
Recommended for: Fans of a harrowing and metaphor-driven psychological horror movie that points to large themes about religion and gender equality through escalating scenes of raw insanity. mother! is a complex film that challenges its audience to question the reason we devote ourselves to others--out of selflessness or self-serving aggrandizement.
mother! begins as an intimate story between two people, and then blossoms--even explodes--outward to tackle grand and abstract themes in more outrageous ways. The incursion of the older couple leads to a wake that is hosted by the all-too accommodating Javier, who opens his doors regardless of the consequences on his dear wife's sanity and security. Even this innocuous event spirals out of control, and devolves into something deranged and insane, reminiscent of the recent Polish psychological horror movie by Marcin Wrona, Demon. The plot and themes in mother! come from the rituals and stories of Christianity, interpreted through a kaleidoscopic, warped perspective. Jennifer and Javier's wife and husband characters are a bit like Adam and Eve in the Garden of Eden--their "garden" is the house, a place where they are isolated from the world. The way that Ed and Michelle slither their way into their demesne represent the incursion of Satan, unraveling the tapestry of their world. They seem normal enough at first, but become hostile and invasive, pressing Jennifer to lash out in defiance of the "Christ-like" openness which Javier exudes. Ed comes to the house as a pilgrim, the first of many. Other acolytes make the journey because of Javier--his "words" speak to them. His desire to accommodate all of them, however impossible it seems, recalls the miracle of the five loaves and two fish--but this leaves Jennifer stuck with the responsibility of making the miracle happen, and she becomes frustrated at her presumptive husband. A glass rock with fiery veins running through it recalls the Apple of Eden--the object represents an emotional attachment for Javier, and Ed covets it like a leering demon. When Ed and Michelle's sons arrive--played by Domhnall Gleeson and Brian Gleeson--their jealousy for the love (and riches) of their father leads to a fight that mimics the parable of Cain and Abel. Javier considers the house as his and takes all of the credit for the hospitality and kindness offered; he is also willing to sacrifice anything for the love of his devotees. This "selfish selflessness" knows no bounds, and goes to such outrageous and terrifying extremes that it leads to a disturbing scene that evokes the ritual of the Eucharist. Jennifer embodies the point of view of the audience, but exists in a world ruled by Javier. He acts like an irresponsible God, and is indifferent to the suffering of his most devoted worshiper. This makes the most profound terror of mother! an existential one, where people with faith must confront the pain of being taken for granted by those whom they love.
Recommended for: Fans of a harrowing and metaphor-driven psychological horror movie that points to large themes about religion and gender equality through escalating scenes of raw insanity. mother! is a complex film that challenges its audience to question the reason we devote ourselves to others--out of selflessness or self-serving aggrandizement.