Divisive drama leaves a mark
One thing director Darren Aronofsky’s work is not is conventional; Black Swan, The Fountain and Requiem for a Dream are among the most out-there, noteworthy films of the last couple of decades.
But even by the Brooklyn-born helmer’s experimental standards Mother! is a strange beast that more than earns the exclamation mark after its title.
The movie premiered at this year’s Venice Film Festival to both vociferous boos and wild applause, and that just about sums up the divisive nature of Aronofsky’s seventh big screen outing.
Given the audience-splitting response, it’s quite fitting that the finished product falls in the middle of the quality scale.
The promotional material gave very little away, beyond making the flick look like a Rosemary’s Baby-style thriller with a couple’s tranquil existence in their idyllic home being shattered by outside forces.
But Mother! is so much more than that as Aronofsky’s script heads off in the kind of directions that very few people will see coming; it’s safe to say that this bonkers bonanza is best viewed avoiding spoilers.
As a consequence, it’s a hard film to review as I don’t want to give too much away regarding how the plot plays out, other than to say it will leave you scratching your heads, wriggling in your seats, rolling your eyes and dropping your jaws in equal measures.
What is easier to talk about, though, are the on-screen performances. None of the characters are given names, beyond basic terms like “Him”, “Man” and “Woman”, but most of the cast rise above this cypher-like existence.
Perhaps surprisingly, however, leading lady Jennifer Lawrence (Mother) – who developed an off-set relationship with Aronofsky during filming – is the one who struggles to keep up with the craziness.
In a rare recent career mis-step, the 27-yearold fails to embody her role with the depth required, even though Mother’s put through the wringer more than Katniss Everdeen ever was throughout The Hunger Games saga.
Javier Bardem, Ed Harris and father-and-son Brian and Domhnall Gleeson hold up their end of the bargain very well, but it’s Michelle Pfeiffer’s sinister “Woman” who steals the show as the former Catwoman makes a welcome return to the spotlight.
Nevertheless, no matter what you think of the acting here it’s some of the demented imagery and unhinged behaviour that will stick with you for days afterwards.
To say Mother! won’t be for everyone is like saying grass is green and I have to admit that by the end I felt like I needed a lie down – and that Aronofsky’s selfindulgence had gotten slightly out of control.
Still, it’s unlike any other film you’ll see this year, and demands repeat viewings.