I will extend congratulations to director Darren Aronofsky for making the most polarizing horror film of the year and perhaps, even the decade. I admit I had absolutely no idea what I was in for when I went to see this film. Aronofsky's current girlfriend, Jennifer Lawrence stars in it. That should account for something. Spanish actor Javier Bardem has always given knockout performances; so there was no reason to worry. Veteran stars Ed Harris and Michelle Pfeiffer were also in the cast, so I had no reason to assume the talent wasn't up to par. And Aronofsky had earned my respect years ago when his first film, "π" was released in 1998. Shot in grainy black & white and disturbing from start to finish; it signaled Aronofsky's arrival. He went on to bigger and better things, such as "Requiem for a Dream" (2000), "The Fountain" (2006), "The Wrestler" (2008), "Black Swan" (2010) and "Noah" (2014). So, what could possibly go wrong with is one. In a word? Lots!
The film is exactly two hours long. That would seem indeed the apropo time for a horror film. The set up is intruiging enough. The characters have no names; (I checked two sources and the characters' names are mother and Him). Lawrence portrays Mother and Bardem is Him. They're a seemingly loving married couple living in a remote farmhouse in an undisclosed town. He's a poet who keeps a very secret, ornate bauble in his observatory. Him (he) seems to have writer's block. His wife (mother) is fixing the house after being burned down in a fire. She is seemingly quiet and introspective. Suddenly, a knock at the door and arrives a stranger. His 'name' is man (lower case) and is played by Ed Harris. His wife (woman) arrives shortly; she's played by Michelle Pfeiffer in one of her patented 'ice queen' roles. Him has absolutely no problem being generous of spirit and letting them stay. Not so much, mother. She's curious, yet nervous. Who are they and what do they want? She questions why her husband is being so open to these people without her consent - but, says absolutely nothing.
Mother's senses are in complete overdrive. Him happily entertains them, but Woman quickly latches her claws onto Mother. She taunts her cruelly about not having children. Woman is abrasive and disrespectful to Mother. It's soon clear that both Man and Woman are fans of Him and want all His attention deviated away from Mother. There are also some tell-tale signs that they seek Him out for reasons that border on...Biblical. Are you lost, yet? That's okay. I was too.
Man (Harris) seems to have a form of lung cancer, though he smokes regularly. He has a scar from his lower rib. Woman, his wife, almost spitefully destroys the secret crystal bauble Him has in his observatory. Then, worsening the situation, their sons; Eldest Son (Domhnall Gleeson) and Younger Brother (Brian Gleeson; both are indeed sons of Irish actor Brendan Gleeson) show up unexpectedly and viciously argue about the parents' will. One thing leads to another and Younger Brother is killed by Eldest Son. Are you with me so far? (Rib, Sin, Brother kills brother etc. etc.)
Uninvited guests are now popping up for an unscheduled wake. Poor Mother is desperate to get her life back to normal, which Him refuses to do on account that He is now enjoying some much needed adullation. Arguing ensues as the discussion of having a baby leads to coitus and yep - she becomes pregnant. Happily ever after? This IS a Darren Aronofsky film, need I remind you. Not even Natalie Portman in "Black Swan" was due for a happy ending.
I will leave it right there. The clues are tantamount. This is NOT "Rosemary's Baby", despite Aronofsky clearly, even gleefully, mimicking that film's every plot nuance. Lawrence (Mother) herself seems to be channeling both Mia Farrow from that iconic Roman Polanski film as well as Sissy Spacek from "Carrie". Hell, Aronofsky even joyfully rips the bucket-of-blood motif from that film. Bardem is easily the John Cassavetes of the film, with a small dash of Jack Nicholson in "The Shining". The fact that Mother (no real human name) is strangely passive-aggressive, until it truly begins to affect her; Him is adamant about letting strangers into their home and letting them throw their lives into upheaval; having no ability to write until she is pregnant and finally, upon the birth of the child, Him is willing to sacrifice it like a deity would to a mob of fanatics, much like the story of Isaac and Jacob, or....
Seriously, NOW do you get it?
Okay, taking now a step back and giving my two cents. Aronofsky and company are indeed making a statement, and in no way, underlying it. Subtlety is NOT Aronofsky's strong suit. This is a full-throttle horror film with blatant anti-Christian allegory and giving fair warning, will illicit strong, even violent reactions. Much like William Friedkin's 1973 masterpiece, "The Exorcist" or even Roman Polanski's seminal 1968 classic, "Rosemary's Baby", it defies, dares. assaults, and even outright blasphemes without any thought for the audience. I'd like to believe that is (and can) be a good thing. Horror and religion are often bizarre narrative bedfellows, but when they're done well, they provoke thought and can shock us legitimately, but all the while, still playing fair with its audience's sensibilities. This one, does not. It just goes after its audience like a voracious and angry pit bull to the face.
I'm afraid, "mother!" (exclamation point required) has about the subtlety of a chainsaw to the nether regions. I have always admired Aronofsky and yes, it will not deter me from seeing his next film, whenever that may be. Lawrence, Bardem and the rest of the cast are all superb and do the job required of them, which is to go so over the top until they've rocketed past the ceiling. The film is NOT a bad per se, but I simply cannot go on record to recommend this film. Yes, if you see it, you've been aptly warned. Me? I value the one thing I can truly call mine. My sanity.
