After watching Darren Aronofsky’s “mother!” at Arclight Cinemas in Hollywood, a special behind the scenes featurette was shown where the filmmaker explained how he wanted to make a movie which would generate different reactions from its audience to where various interpretations could be formed over what they witnessed. Aronofsky has succeeded in doing exactly that as “mother!” does not have him spelling anything out for anyone, perhaps not even for the cast either. Maybe he does have an explanation for all the craziness which ensues in this, one of the freakiest psychological thrillers in some time, but he’s not about to let on what it is, and I am perfectly fine with that as to explain anything about the plot would dilute its power instantly.
The experience of seeing “mother!” was a lot like watching Lars Von Trier’s “Antichrist” as both movies feature a married couple who are nameless and staying in a secluded country home in the woods. Like “Antichrist,” “mother!” has polarized critics and audiences as many are desperate to discover what its director was attempting to accomplish here. The best advice I can give you is to approach Aronofsky’s film by leaving any and expectations you have for it at the door. It has been advertised as an homage to “Rosemary’s Baby,” but the only thing it has in common with Polanski’s classic is it’s also not a movie for new or expectant parents.
We meet Mother (Jennifer Lawrence) on a beautiful and sunny morning as she wakes up in the home she shares with Him (Javier Bardem), a well-regarded poet who is currently suffering from a frustrating bout of writer’s block. The two of them lead a peaceful existence in a home which has been lovingly restored after suffering much damage, but this existence is soon interrupted by an unexpected visitor (played by Ed Harris), an orthopedic surgeon who Him welcomes into their home even though Mother is perturbed that he would welcome a complete stranger in ever so easily.
Things become even more complicated when the unexpected visitor’s wife (played by Michelle Pfeiffer) comes by and becomes infatuated with knowing more about Mother and why she and her husband have no children of their own. Granted, this makes Lawrence’s character’s name of Mother hypocritical as she is not a mother at the movie’s start, but many surprises are in store for the characters and the audience as “mother!” takes a number of twists and turns you cannot see coming.
Revealing more about what happens would be detrimental as “mother!” is best viewed with little knowledge about it. Indeed, promoting this movie must have been a nightmare for Paramount Pictures as you can only say so much about it before you spoil everything. Then again, can you spoil this movie for others? Aronofsky has made something here which cannot be easily explained, but while this will baffle and infuriate many who sit through, it should enthrall those who are in the mood for something cinematically adventurous and a movie which forces you to think about what you just saw.
What I can tell you is things reach a frenzied fever pitch as “mother!” barrels towards a climax which comes close to equaling the frenzy of Ellen Burstyn being terrorized by her refrigerator in “Requiem for a Dream.” Aronofsky has said he applied “dream-logic” to “mother!,” and it certainly helps to know this going in as events keeping going by at a rapid pace to where you can’t help but feel like you are in a nightmare or a dream you are desperate to control, but can’t. It’s like being a car when the brakes have failed you, and the emergency brake ultimately doesn’t work either. You just keep getting thrust into a hellish realm as Lawrence and Bardem become trapped in their once peaceful home as the woods it is located in offers no escape. In fact, it all reminded me of what Charlotte Gainsbourg said in “Antichrist” at one point, “Nature is Satan’s church.” Well, Satan looks to be having even more fun here.
There are said to be a lot of biblical allegories to be discovered here, but the only one I could see was the reference to Cain and Abel as two brothers fight one another bitterly over an inheritance which benefits one more than the other. I am already very eager to see “mother!” as seeing it once is not enough to uncover all which Aronofsky wants us to discover. Now that I have experience this motion picture on an emotionally visceral level, I want to experience in a different way even though Aronofsky has warned us not to analyze “mother!” too deeply.
Jennifer Lawrence remains as luminous an actress as ever, and she looks to be put through the emotional wringer here as her character descends into a realm of inescapable madness. It turns out she even got so into character on set to where she was constantly hyperventilating and even cracked a rib, so there’s no doubt about dedication to playing a role. At this point, I am convinced Lawrence can play any role given to her, and she has this ageless quality to her appearance which matches her up perfectly with actors who are several years older.
Lawrence also shares a number of almost gleefully unsettling scenes opposite Michelle Pfeiffer, an actress we don’t see near enough of these days. As these two circle each other like cats ready to hiss at one another while guarding their precious territory, we are reminded of how brilliant Pfeiffer can be when given material which piques her interest.
As for Javier Bardem and Ed Harris, these are two actors you can never ever go wrong with, and they infuse “mother!” with a passion for acting they have never lost sight of since the start of their careers. Bardem, in particular, gives his character a loving presence as well as an ominous one. The latter is especially the case in a scene where he stares down Lawrence, and it’s a stare which lasts for what feels like an eternity and brings back memories of his Oscar-winning role as Anton Chigurh in “No Country for Old Men.” I kept waiting for him to explode as Bardem sits like a wild animal waiting to strike, and I was desperate for Lawrence not to let her guard down while in front of him.
Aronofsky continues to employ many of his regular colleagues to great effect like cinematographer Matthew Libatique, but what’s surprising is this movie’s lack of a music score. Instead of employing his longtime composer Clint Mansell, Aronofsky instead hired Johann Johannsson to come up with ominous musical themes. However, upon viewing an edit of “mother!,” they both agreed this movie didn’t need a score. It says a lot about “mother!” that it needs no music score to aid in the movie’s mission to generate almost unbearable tension. Few other filmmakers could get away with such a feat, but the intense sound design which, when viewed in the right theater, surrounds you to where you feel every bit as trapped as Lawrence is. As her predicament becomes more and more of a sonic assault, we feel her character’s agitation all too much.
In retrospect, I was tickled to death at the reactions the audience I saw “mother!” had. Several people laughed either out of derision or just plain nervousness as things went from a state of peacefulness to complete Armageddon, and others complained how this scene or another contained the only elements which made the least amount of sense to them. As I walked out of the theater, others said they couldn’t understand why people were laughing at certain moments. Many of my movie friends have said this movie is likely to end up on the lists of both the best and the worst films of 2017, and I couldn’t agree more. You will either love this motion picture, or you will hate it with a passion.
As for myself, I loved the visceral roller coaster ride “mother!” took me on. I never caught myself laughing much at what went on as I was completely gripped in Aronofsky’s vise as he continued to tighten the grip he had on me, and I was thrilled at the levels of “Requiem for a Dream” intensity he was able to generate with this one. Many will say he is simply out to torture his audience, but why can’t we have a torturous cinematic experience every once in a while, or at least one which is torturous in a good way? I show no hesitation in calling “mother!” one of the best movies I have seen so far in 2017 as it provided me with something incredibly unique in a time where the cinematic landscape is overfilled with superheroes.
Yes, the market research firm CinemaScore has given “mother!” an average grade of an F, a rare grade for movie to get from them. Then again, Steven Soderbergh’s “Solaris,” William Friedkin’s “Bug” and Richard Kelly’s “The Box” also received the same grade, and those movies are much better than their reputations suggest. And keep in mind, this is the same firm which gave an A+ to Dinesh D’Souza’s infinitely patriotic but poorly made, not to mention boring, documentary “America: Imagine the World Without Her,” so there’s no accounting for taste.
Seriously, I haven’t had this much fun taking in an audience’s reaction to a motion picture since “The Human Centipede 2.” Of course, “mother!” is much, much better than that one. When the exclamation mark appears a couple of seconds after the title does and then sticks around once the title disappears, you should know you are in for something completely different.
* * * * out of * * * *