Mother! is a divisive, masterful allegory, and even after my initial viewing, I've been going over at least three different ways of interpreting what occurs over the two hours. No review of this can really be given without spoiling the film's story, since giving any details will reveal the nature of the beast. For those who would rather be surprised, avoid reading much on this before you see it.
Many people will be put off by the imagery displayed here, especially in the latter half of the film, particularly a visual representation of sacrament/communion in a very disturbing scene that is only shocking if taken at face value without acknowledging the inherent religious symbolism. For people horrified by this depiction, people consume the blood and flesh of Christ on Sunday every week, so maybe the horrified response is misdirected (I've often thought it bizarre that we eat bread and drink water/wine as a representation of eating Christ, and shown here hammers that home). Aronofsky mocks the absurdity of Biblical scripture, and perhaps those offended are merely protecting their religious beliefs. I can't be sure, although my gut tells me people simply missed the point, which is astonishing, as Aronofsky is not a subtle filmmaker -- he practically bashes the audience over the head with symbolism here.
When viewed from a metaphorical perspective, much of this becomes quite comical. This is quite darkly humorous at times, although the imagery makes it difficult to laugh over. A woman destroying a piece of the house mentions she wants to leave a reminder that she was here -- a very funny twist with shades of environmentalism and ecological warfare. There are several layers of meaning which Aronofsky deftly envelopes into a story of chaos.
None of the characters have names -- these are not characters, but archetypes. Jennifer Lawrence is very good as the titular "Mother", although she may the weakest part of the film's cast simply for having to play the thankless victim role. I don't imagine many others could have done anything different, although a warmer actress might have worked better for what is asked. Javier Bardem is great as always as the poet prone to writer's block. Titled "Him" in the credits (capital H) suggests his divine nature, but that is only one reading of his character.
Michelle Pfeiffer steals every scene she's in, going just this side of over-the-top, and Ed Harris is good as her devoted husband. I particularly liked the glimpse of his injured torso just before Pfeiffer shows up. Domhnall and Brian Gleeson (real life brothers) show up as the two sons of Harris and Pfeiffer (hammering home the Adam/Eve/Cain/Abel metaphor as one kills the other). And Kristen Wiig makes a surprise appearance as the poet's publicist. I'm not sure what Biblical character she is meant to represent, possibly a blend of several, or possibly missionaries?
Lastly, this is Aronofsky's showpiece, and his work is phenomenal. With an amazing sound design (Oscar worthy) and close-up, hand-held camera-work to retain the proximity with our heroine, Aronofsky is working on a whole different level than most filmmakers. We watch "Mother Earth" get pummeled quite literally at one point which horrified me on several levels -- we do this to our planet, and it disturbed me to see it portrayed this way. Certainly not a condemnation of Aronofsky, but moreso of humanity as a whole. We are not good stewards of this planet.
As an enormous fan of Aronofsky's Grand Guignol style of storytelling, I didn't know what to expect from Mother! I left the theater smiling just as those around me left shaking their heads in contempt (I overheard one couple say it's the worst thing they've ever seen). Perhaps they missed the point or, if they understood it, didn't like the depiction of humanity as greedy consumers of the world. I'm not entirely sure. All I do know is that I loved this film, and give props to Aronofsky and Paramount for producing this truly bizarre, outlandish spectacle.
Many people will be put off by the imagery displayed here, especially in the latter half of the film, particularly a visual representation of sacrament/communion in a very disturbing scene that is only shocking if taken at face value without acknowledging the inherent religious symbolism. For people horrified by this depiction, people consume the blood and flesh of Christ on Sunday every week, so maybe the horrified response is misdirected (I've often thought it bizarre that we eat bread and drink water/wine as a representation of eating Christ, and shown here hammers that home). Aronofsky mocks the absurdity of Biblical scripture, and perhaps those offended are merely protecting their religious beliefs. I can't be sure, although my gut tells me people simply missed the point, which is astonishing, as Aronofsky is not a subtle filmmaker -- he practically bashes the audience over the head with symbolism here.
When viewed from a metaphorical perspective, much of this becomes quite comical. This is quite darkly humorous at times, although the imagery makes it difficult to laugh over. A woman destroying a piece of the house mentions she wants to leave a reminder that she was here -- a very funny twist with shades of environmentalism and ecological warfare. There are several layers of meaning which Aronofsky deftly envelopes into a story of chaos.
None of the characters have names -- these are not characters, but archetypes. Jennifer Lawrence is very good as the titular "Mother", although she may the weakest part of the film's cast simply for having to play the thankless victim role. I don't imagine many others could have done anything different, although a warmer actress might have worked better for what is asked. Javier Bardem is great as always as the poet prone to writer's block. Titled "Him" in the credits (capital H) suggests his divine nature, but that is only one reading of his character.
Michelle Pfeiffer steals every scene she's in, going just this side of over-the-top, and Ed Harris is good as her devoted husband. I particularly liked the glimpse of his injured torso just before Pfeiffer shows up. Domhnall and Brian Gleeson (real life brothers) show up as the two sons of Harris and Pfeiffer (hammering home the Adam/Eve/Cain/Abel metaphor as one kills the other). And Kristen Wiig makes a surprise appearance as the poet's publicist. I'm not sure what Biblical character she is meant to represent, possibly a blend of several, or possibly missionaries?
Lastly, this is Aronofsky's showpiece, and his work is phenomenal. With an amazing sound design (Oscar worthy) and close-up, hand-held camera-work to retain the proximity with our heroine, Aronofsky is working on a whole different level than most filmmakers. We watch "Mother Earth" get pummeled quite literally at one point which horrified me on several levels -- we do this to our planet, and it disturbed me to see it portrayed this way. Certainly not a condemnation of Aronofsky, but moreso of humanity as a whole. We are not good stewards of this planet.
As an enormous fan of Aronofsky's Grand Guignol style of storytelling, I didn't know what to expect from Mother! I left the theater smiling just as those around me left shaking their heads in contempt (I overheard one couple say it's the worst thing they've ever seen). Perhaps they missed the point or, if they understood it, didn't like the depiction of humanity as greedy consumers of the world. I'm not entirely sure. All I do know is that I loved this film, and give props to Aronofsky and Paramount for producing this truly bizarre, outlandish spectacle.