IMDb > The Mother (2003)
The Mother
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The Mother (2003) More at IMDbPro »

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The Mother -- A grandmother has a passionate affair with a man half her age, who is also sleeping with her daughter.

Overview

User Rating:
6.9/10   3,297 votes »
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Director:
Writer:
Contact:
View company contact information for The Mother on IMDbPro.
Release Date:
9 October 2003 (Germany) See more »
Genre:
Tagline:
It can take a lifetime to feel alive.
Plot:
A grandmother has a passionate affair with a man half her age, who is also sleeping with her daughter. Full summary » | Full synopsis »
Awards:
Nominated for BAFTA Film Award. Another 1 win & 11 nominations See more »
NewsDesk:
(29 articles)
Le Week-End | Review
 (From ioncinema. 12 March 2014, 1:00 PM, PDT)

DVD Review: 'Le Week-End'
 (From CineVue. 24 February 2014, 6:21 AM, PST)

The top 25 underappreciated films of 2004
 (From Den of Geek. 8 January 2014, 12:48 AM, PST)

User Reviews:
Michell redeems himself See more (53 total) »

Cast

  (in credits order) (complete, awaiting verification)

Anne Reid ... May

Peter Vaughan ... Toots

Anna Wilson-Jones ... Helen

Daniel Craig ... Darren

Danira Govich ... Au Pair
Harry Michell ... Harry
Rosie Michell ... Rosie
Izabella Telezynska ... Polish Cleaner

Steven Mackintosh ... Bobby

Cathryn Bradshaw ... Paula
Carlo Kureishi ... Jack
Sachin Kureishi ... Jack
Simon Mason ... Man in Tate Gallery

Oliver Ford Davies ... Bruce
Jonah Coombes ... Estate Agent
rest of cast listed alphabetically:

Zelda Tinska ... Barmaid (uncredited)

Directed by
Roger Michell 
 
Writing credits
Hanif Kureishi 

Produced by
Stephen Evans .... executive producer
Angus Finney .... executive producer
Kevin Loader .... producer
Rosa Romero .... line producer
Tracey Scoffield .... executive producer
David M. Thompson .... executive producer
 
Original Music by
Jeremy Sams 
 
Cinematography by
Alwin H. Küchler (director of photography) (as Alwin Küchler)
 
Film Editing by
Nicolas Gaster 
 
Casting by
Mary Selway 
Fiona Weir 
 
Production Design by
Mark Tildesley 
 
Art Direction by
Mark Digby 
 
Set Decoration by
Michelle Day 
 
Costume Design by
Natalie Ward 
 
Makeup Department
Konnie Daniel .... makeup designer
 
Production Management
Alistair Hopkins .... post-production supervisor
 
Second Unit Director or Assistant Director
Paul Mason .... third assistant director
Barrie McCulloch .... first assistant director
Olivia Peniston-Bird .... second assistant director
 
Art Department
Chris Lightburn-Jones .... stand-by art director
Denis Schnegg .... draughtsman
Nick Thomas .... property master
Warren Lever .... construction manager (uncredited)
 
Sound Department
Tim Alban .... sound re-recording mixer
Orin Beaton .... boom operator
Owen Bleasdale .... foley recordist
Paula Boram .... foley artist
Gianluca Buttari .... foley editor
Danny Hambrook .... sound recordist
Danny Hambrook .... supervising sound editor
Stewart Henderson .... supervising dialogue editor (as Stuart Henderson)
Melissa Lake .... foley artist
Adam Laschinger .... assistant sound editor
Adam Laschinger .... sound assistant
Matthew Skelding .... assistant sound re-recording mixer
Graeme Stoten .... adr editor
Michele Woods .... adr editor (as Michelle Woods)
 
Visual Effects by
Sally Clayton .... digital supervisor
Tim Davies .... senior compositor
Rob Ellis .... digital effects compositor
Safiya Ravat .... assistant compositor
Rod Shelton .... digital producer
Laurent Treherne .... technical supervisor
 
Camera and Electrical Department
Peter Byrne .... focus puller: "b" camera
Ivan Kyncl .... still photographer
Henry Landgrebe .... clapper loader
John Law .... rigger
Stephen Mathie .... best boy
Luke Redgrave .... camera operator: "b" camera
Olly Tellett .... focus puller
Lucho Zuidema .... grip
Thomas Townend .... camera operator: second unit (uncredited)
Harry Wiggins .... gaffer (uncredited)
 
Costume and Wardrobe Department
Gemma Evans .... wardrobe assistant
 
Editorial Department
Erika Brüning .... arri laser operator (as Erica Brunning)
Kim Gaster .... associate editor
Mark Vincent .... senior colorist
Jon Thompson .... post-production consultant (uncredited)
 
Music Department
Simon Chamberlain .... musician: piano
Alec Dankworth .... musician: double bass
Isobel Griffiths .... music contractor
Tom Leader .... music engineer
Richard Paine .... music supervisor
Ralph Salmins .... musician: drums
Steve Parr .... music recordist (uncredited)
 
Other crew
Isabel Begg .... business affairs: BBC Films
Jonah Coombes .... location manager
Will Davies .... assistant: Stephen Evans, Renaissance Films
Sam Edmonds .... floor runner
Sarah Jane Facer .... legal services: Lee & Thompson
Jeremy Gawade .... legal services: Lee & Thompson
Jane Hawley .... production executive: BBC Films
Richard Juneman .... production accountant
Stephen Kelly .... floor runner
Steffy Marrion .... production coordinator
Ben McAlister .... caterer: Marquis Restaurant
Leila McAlister .... caterer: Marquis Restaurant
Martin McGlone .... laboratory contact
Liz Miller .... public relations: McDonald & Rutter
Michaela Piper .... head of marketing: Renaissance Films
Luke Redgrave .... assistant to director
Roger Sampson .... insurance: AON
Andrew Tapper .... production runner
Gurdeep Ubhie .... assistant accountant
Jane Wright .... business affairs: BBC Films
Katie Bullock-Webster .... assistant to producer (uncredited)
John Charles .... software engineer: Sony DAC (uncredited)
Michael J. Harker .... completion bond company representative (uncredited)
Sue Hills .... script supervisor (uncredited)
Edward Randolph .... runner (uncredited)
 
Thanks
Kate Buffery .... thanks
 
Crew believed to be complete


Production CompaniesDistributorsSpecial Effects
  • VTR (digital visual effects)
Other Companies

Additional Details

Also Known As:
MPAA:
Rated R for sexual content including graphic images of sexuality, language and brief drug use
Runtime:
112 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
The second sex scene between May and Darren was shot over a two day period.See more »
Goofs:
Continuity: When May is telling Darren about her affair and just before she asks him to take her to bed, Darren does not have a carpenter's pencil in his ear. When we see him a few moments later, the pencil is over his ear.See more »
Quotes:
Paula:Is there anything I'm good at? What do I want to do? What do I like? Well, I'm going to find out.
May:Paula, is there anything I can do?
Paula:Ah, at last! God! Yeah! I've been thinking about it for a few days actually. I think... I think I would like to hit you. Do you understand that?
May:[matter of factly] Yes. Now?
[Paula nods affirmatively]
See more »
Movie Connections:
Soundtrack:
Clint EastwoodSee more »

FAQ

This FAQ is empty. Add the first question.
35 out of 37 people found the following review useful.
Michell redeems himself, 7 June 2004
Author: Hedgehog_Carnival from Guayaquil, Ecuador

It's hard to imagine a director capable of such godawful crap as 'Notting Hill' pulling off something as sensitive and as attractive as this, but well, here's the evidence and it's quite compelling. Several have alluded to TV drama, and yes, this does have a seventies Play for Today feel at times, but is always a cut above, mainly I think owing to some quite superlative acting from Anne Reid and to a fine script which shadow-boxes with cliché without ever getting one on the nose, except maybe right at the end. (I didn't like either the tracking shot of indifferent goodbyes through the hallway, nor the oh-what-a-beautiful-morning final scene: she deserved a more studied finale than that I think, after all that hard work. The slippers business was a bit OTT too, on reflection).

What I mean about avoiding cliché: well, I for one had a sinking expectation that the "mature" man May's daughter tries to set her up with would be cast in 2 dimensions as a repulsive old bore, so as to point the contrast more painfully with the attractive, virile young geezer he is unwittingly competing with. Instead, we get an unexpectedly subtle and sympathetic cameo of a lonely, clumsy, not entirely unlikeable and very human fellow, who nevertheless doesn't have much of a clue about entertaining a woman. It was around that point I started to sit up and pay more attention. Here was a script that let the actors breathe and do something interesting with fairly minor parts. Almost Mike Leigh in that respect (minus the contrived catharses that the latter inexplicably goes in for).

And of course I was, as everyone probably was, dumbfounded by what Anne Reid does with her character and with her body. She's /not/ "the repressed, dutiful housewife discovering herself for the first time", this is far too simplistic for the character we have. Again and again there are allusions to her having been a "bad housewife", not to mention that thing she does with trays, trying to look nurturing and comely and only succeeding in looking awkward. The daughter accuses her of having "sat in front of the TV all day" instead of, well, whatever her motherly duties might be presumed to have been: she has no answer. She never was a model wife and mother, at least not to herself - that's where a lot of the poignancy comes from, the sense of someone having wasted a life trying to fulfil a role she simply wasn't good at, ever.

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Did you wonder if the son was gay?... cmgeyer
Question about love scene maggietayl
The Score... mikema74
One thing I don't understand... carmen78
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