Two men become entangled in a torrid love affair with the same woman. Pierre is Miriam's longtime lover. John is desperately searching for clues about his past when he and Miriam have a ... See full summary »
David, an independent photographer, and Katia, an unemployed woman, leave Los Angeles, en route to the southern California desert, where they search a natural set to use as a backdrop for a... See full summary »
Toots and May's marriage is one of Toots being dependent on his wife. Shortly after Toots and May arrive in London to visit with their grown children Bobby and Paula and their respective children, Toots falls ill and dies. Toots' death brings to the surface the underlying strain that has always existed between May and both of her two children, and the unhappy lives they have all led. Now specifically with Paula, May is disapproving of her relationship with a construction worker named Darren. Not only does May think his occupation makes him beneath Paula, he's also a married man. Darren is in an unsatisfying marriage but doesn't want to leave it if only because of his son. Even after May gets to know and like Darren, she still encourages Paula to break up with him. The issue is that May herself has fallen in love with Darren, the two who begin a sexual relationship. What will ultimately happen between May and Darren also depends on Darren, who is floundering in his own life and doesn't...Written by
Filmed entirely on-location. Daytime scenes were filmed using only natural light. For nighttime scenes, the crew again used as many practicals as possible (table lamps, fixtures already at the location, et cetera) rather than rigging large lighting kits that would have required a generator (the crew did not use one). See more »
When Darren and Toots are discussing cricket, the reflections of crew equipment and the camera dolly mount are visible in the glass of the sunroom windows. See more »
[on finding his mother's pornographic drawings]
I feel as if I've just had a very hot curry!
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Of all the films I have seen this year (2004), none has affected me as deeply and personally as "The Mother", and on so many levels.
For one thing, watching May deal with the grief and loss and sudden disorientation of widowhood, I could not help wondering how my own mother will cope when the time comes, as it surely must, for her and indeed for all of us.
But, as May's story unfolded, it was my own sense of grief and loss and disorientation that I experienced anew. May and I share something in common: not widowhood, but age, or rather the loss of youth, and the invisibility and untouchability that come with age.
I could relate to May's need for passion, her need to be loved, her need, not so much for sex, but simply to be touched. But as we grow older, we are ironically shut out and shunted aside and denied the very thing our souls cry out for. (Note: There are some disturbing and shocking images of sexuality in "The Mother", but don't let them put you off and blind you to the real message of the film.)
May, at least, rediscovers another passion within -- to create art -- and so is able to live again. Not all of us are so fortunate. In this respect, I identify more with May's daughter Paula who, when love and passion fail and die, feels that her creative expression is no longer valid and worthwhile, and destroys her works in a fit of despair.
May is a woman in her late 60s; I am a gay man in my late 40s. Yet our stories are similar in so many ways. What May experiences in a matter of weeks, I have felt over the past decade. My passion has yet to be rediscovered.
It is no accident that "The Mother" was scripted by Hanif Kureishi, who gave us "My Beautiful Laundrette", a love story about two gay men in the flower of youth. "The Mother" is at the other end of the spectrum, a story about age and the denial of passion. To paraphrase the title of another Kureishi film, "The Mother" might aptly be titled "Sammy and Rosie Get Old".
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