Author Topic: mother! (Darren Aronofsky, 2017)  (Read 250 times)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #15 on: October 24, 2017, 10:30:PM »
Again, and I predict, Shariq will LOVE this. It appeals to him (and probably you).

Absolutely. What a fantastic piece of insane art. Not literally insane, since the movie makes complete sense. This is Grade A substance shot into you through your eyes and ears. Easy among the top 3 I've watched this year.

Fizz, man... I'm so glad you got us to watch this in the cinema.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #16 on: October 24, 2017, 11:09:PM »
I read the movie two ways.

1) God-earth-Planet Earth
-- this analogy came to me when we see Ed Haris with a cut and then Pfeiffer appearing (Adam's rib = eve). I thought it might also be a Rosemary's Baby cultist movie then, but knowing Aronofsky, that would have been highly unlikely. The Cain and Able solidified this context, and the flooding absolutely confirmed it. After that, I was watching it like Tank watched theMatrix code, but sees the Matrix world. It was fucking beautiful. Even down to the crucifixion and communion scene. Wow.

2nd one in another post below.

Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #17 on: October 24, 2017, 11:13:PM »
mother vs Mother

The reason for the small "m" is because she represents earth, not Earth.

Earth: 3rd planet of the Solar System, the proper noun. Like Mars or Jupiter. Earth. Another word for Terra Firma (something on this is Terrestial). Cold, Scientific.
earth: the place where we live, the soil, our home. (something from it is earthen). Warm, emotional.

Now, if the movie was called "Mother" (capitalized, without exclamation), it would mean literally "Mother", as in the female parent. But this is not about a mother in the literal sense at all.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #18 on: October 24, 2017, 11:21:PM »
My 2nd reading of the movie:

2) Aronofsky-His Lover-The Emotional world *she* builds
Bardem plays the director himself. JLaw plays the woman in his life (ironic since they were *not* in a relationship when the movie started). The house represents the emotional place she has built for them. It has no effort from him, he's only living in it, but she is doing all the work. He takes inspiration from her, and their love to make his movies. His movies get all the love, which in turn brings him all the love. and he's selfish that way. Eventually, this selfishness, allowing his love-life to be so public (or shared?) causes the break-up and destruction of their emotional place. She's then gone form his life. And he restarts with another woman.

If you take this analogy, this is an incredibly sad and personal as a movie that Aronofsky has made as a guilt-piece; an apology for what he is as a person and lover.
Of course, I don't interpret this as the primary purpose of the movie (coz then the biblical parallels won't make sense), but as another emotional layer to the movie -- the way art is always described as something personal and representative of the artist.

The title, in this case, represents the most profound form of love. The exclamation meaning it isn't literally a mother.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #19 on: October 24, 2017, 11:27:PM »
So Fizz - what was the yellow stuff she keeps drinking?

I have no idea what this is, yet. Why is it yellow?
She has it two times:
1) At the beginning, before Adam arrives.
2) During the first home-invasion scene.

And she discards it after she gets pregnant.

Hmm.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline kaytee

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Re: mother! (Darren Aronofsky, 2017)
« Reply #20 on: October 24, 2017, 11:36:PM »
Never thought of it from the perspective of Aronofskys relationship with Rachel Weisz but it does make sense. At first I thought the women in the opening scene was Rachel Weisz of who you get a 2 second glimpse, but it seems my eyes were playing tricks on me.
TEJA mein hoon, Mark idhar hai !!

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #21 on: October 24, 2017, 11:37:PM »
Never thought of it from the perspective of Aronofskys relationship with Rachel Weisz but it does make sense. At first I thought the women in the opening scene was Rachel Weisz of who you get a 2 second glimpse, but it seems my eyes were playing tricks on me.

Nope, they weren't. That definitely was Weisz.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #22 on: October 24, 2017, 11:45:PM »
Btw, Lawrence is phenomenally good in the movie. The film is so tightly shot, it's a relief whenever we get the rare wide-shot. Most of the movie is with the camera tight on Lawrence, and she goes though the entire gamut of emotions beautifully. Hope she gets a nomination for it, at the least.
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline kaytee

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Re: mother! (Darren Aronofsky, 2017)
« Reply #23 on: October 24, 2017, 11:47:PM »
Yes the tight shots following JLaw around be house makes you feel disoriented as well, it made me feel that the house is a lot big than it actually was.

It was not Rachel Weisz.
TEJA mein hoon, Mark idhar hai !!

Offline shariqq

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Re: mother! (Darren Aronofsky, 2017)
« Reply #24 on: October 24, 2017, 11:51:PM »
It was not Rachel Weisz.

Nahi yaar, I'm sure it was. It definitely can't be JLaw, since it was the previous woman who burnt. Like there was a new woman in the end.
Or else they used CGI to make a Weisz-kinda looking face. I'm gonna freeze frame that once it is out on home release. Gotta know!
Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline kaytee

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Re: mother! (Darren Aronofsky, 2017)
« Reply #25 on: October 25, 2017, 12:06:AM »
Here you go, it’s not Rachel Weisz.

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Re: mother! (Darren Aronofsky, 2017)
« Reply #26 on: January 13, 2018, 12:36:AM »
Genuinely hilarious!

Do you know what the scariest thing is? To not know your place in this world, to not know why you're here. That's - that's just an awful feeling. -- Elijah Price,  Unbreakable (2000)

Offline PUP

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Re: mother! (Darren Aronofsky, 2017)
« Reply #27 on: Today at 01:02 PM »
I really liked this film but didn’t bother looking for any discussion here (which I admit I should do more of). It was only recently that Fizz and I had a brief discussion of this film (at the Ant-man and Wasp premier) that I decided to watch it again. I did and love it even more.

I watched it for the first time with the wife and she didn’t like it. Thought the analogy was a loud cacophony muddled between psychological horror and supernatural horror. I watched it again by myself and it was a lot more interesting. mother! has three coats of paint (no pun) but apparently, casual viewers only see most of the first layer, or the home invasion story. The second layer is the supernatural element or the time loop of destruction-creation-destruction and repeat. The third and inner most layer is the most fascinating and much of what is discussed here is true – the Biblical analogy with two equal parts. The first part ends with the flood in the house and the crowd being dispersed – This is in reference to The Old Testament or the first volume of the Bible (which includes the books of Genesis and Exodus) and including the books of Leviticus, Numbers, and Deuteronomy, this forms the Books of Moses which were all sacred Hebrew scripts written over 1000 BC. The relevance is not merely Adam and Eve, or Cain and Able, or the forbidden fruit (the old couple is seen having sex after being ‘banished’ for breaking the crystal – the first and original sin and the turning point in the film) or the first destruction of humanity by the flood. Both the Old Testament and the Torah have three manuscripts called Psalms, Proverbs and Job – these are known as The Poetic Books – which took centuries to complete and hence the reference to  Bardem’s struggling poet. This is again somewhere between the film’s second and third layers.

The second part of the film is in reference to the New Testament or the second volume of The Bible. This is what the Poet writes after the ‘flood’. This is also where the conflict arrives, not only in the film but also within various sects of Christianity. Aronofsky’s allegories are almost fully surrounded by the Catholic faith and more than Protestant or Orthodox Christian beliefs. This in reference to the Catholic belief and I quote “God so loved the world that he sacrificed His only Son and whosoever believes in Him shall have eternal life”. Needless to say, this is where the second ‘invasion’ erupts into utter chaos but also an astute allegory to what is happening right now in the real world – crimes against humanity in the name of religion. I’m not sure about Rachel Weisz, but I’m aware that Aronofsky is an atheist (no God figure in his previous film Noah, too) and here’s where it gets very interesting. During all the turmoil, death and destruction, Bardem’s God character is absent. Perhaps this is Aronofsky’s way of vindicating his own belief by asking where is the God you love so much when you need him most? And although LOVE is a very important element to the film, I dare say that Aronofsky is also saying that the film’s God character is a God that loves to be loved – a clear reference to the many atrocities committed in the name of God.

Here are some other allegories which I found interesting:

The yellow stuff she drinks – I think it’s some sort of life essence. There’s a scene where she sprinkles some yellow powder into the ‘paint’ during the renovation scene after the first invasion. Likewise, the crystal which Him and Mother tries to protect so much, is the essence of life.

The dispute over money between the brothers lead to one murdering the other with a head blow (same as with Able in the Book of Genesis). The blood scarred spot where he died decays and with a blood trail that leads to a basement room with drums of oil – which is ultimately ignited to kill everyone including Mother.

The lower case mother isn’t just in the title. If you look at the end credits, everything is in lower case, except – Him. Obvious enough.   

With love given such importance, I wonder whether the crystal and the bleeding heart of Mary have any connection in the film. In the Catholic faith Mary is revered as the Mother of God, where God manifests Himself in the form of Jesus but born of ‘Immaculate Conception’. Hence the Immaculate Heart of Mary is a veneration parallel to the Sacred Heart of Jesus. Deemed by the Catholic Church, the Sacred Heart represents Christ’s love and compassion for humanity and also His absorption of the sins and treachery of humanity. And to be honest, I only recently noticed that most images of the Sacred Heart have a yellow glow emitting outwards. One of the first posters of the film is a CGI statue of Jennifer Lawrence made to look sorrowful like Mary.

   

A closed mouth gathers no foot.