The biggest news coming from the opening weekend of mother! was that it received an F rating from Cinemascore, which is apparently hard to do. I saw the film yesterday, and it certainly doesn’t rate an F (I’d give it a B), so what happened? One, it wasn’t marketed properly–when people hate a movie, it’s often because they didn’t get the movie they thought they were going to get. mother! was marketed as a run-of-the-mill horror film, and it is not. Two, there’s an old saying in theater that satire is what closes on a Saturday night. I’d say Biblical allegories would be included in that category. The truth probably is that most people didn’t get it.
I’m not sitting here saying I’m superior, because I didn’t get it, either. I could write about what I thought was going on, but I had no firm theory. It reminded me of other works, such as Edward Albee’s play A Delicate Balance, where guests come to stay and don’t leave, or Rosemary’s Baby, but I read an interview in Vanity Fair with director Darren Aronofsky, who explains what it is. I’m reluctant to spoil anyone’s encounter with it, lets just say that a sound understanding of Genesis is involved.
Jennifer Lawrence and Javier Bardem star as a couple living in a big, beautiful house that she is renovating (She says she wants to make it a paradise–Garden of Eden?) He’s a poet, so we know immediately this isn’t reality because I don’t think anyone makes a living solely writing poems, especially with a house that big. He’s got writer’s block, though. One day a stranger, a doctor played by Ed Harris, shows up. Barden invites him to stay the night, and Lawrence is incredulous. She’s even more so when Harris’ wife, Michelle Pfeiffer shows up. They are followed by their two sons, arguing about the will. One kills the other (this is the only Biblical reference I picked up on–Cain and Abel) and Lawrence is stunned that a funeral gathering is taking place in her house.
She becomes pregnant, and time passes. Bardem writes a poem that becomes so admired that people flock to the house to congratulate him. Thus proceeds the conclusion, that involves Lawrence giving birth and, well, let me leave it that. I will only say that it is gruesome, and there are a few things that just don’t play in Peoria.
Even though I didn’t understand it, I didn’t have the visceral dislike that apparently most of America had. At least it was interesting, if obscure. The camera moves disorientingly, following Lawrence as she goes everywhere. The house is dark. The basement has what appears to be a magic tunnel. When Lawrence touches the walls, she senses some sort of presence. But it’s not ghosts, it’s something much more fundamental. Another clue is that she is always barefoot. The first and last lines of the film are “Baby?”
The performances are also strange. Lawrence, due to the nature of the role, has to be passive and reactive, while Bardem is purposely mysterious (there’s a constant, “Why are you doing this?” and “I can’t put them out” vibe between them). I wonder if Harris and Pfeiffer even knew what they were playing. Once you understand who Pfeiffer is supposed to be, it’s sort of funny that she plays it bitchy.
I have to give Paramount Pictures the guts to spend 30 million dollars on this. I don’t think they’ll make it back, but I think it will find a home on VOD. If anything, it’s a great conversation piece.