Mother! Darren Aronofsky | Review
Three years from the sophisticated dark fantasy Noah, Darren Aronofsky returns with his film the most extreme, controversial and awe-inspiring. The metaphor behind the film is so evocative and powerful and can be mysterious, and so multi-faceted and charming to be all-encompassing: what Aronofsky had made us see in The Fountain – The Tree of Life is nothing compared to what he shows us in mother!.
Jennifer Lawrence and Javier Bardem are a couple seemingly happy lives in a country house, away from everyone and everything. He is a famous poet, tormented by writer's block, hoping to find inspiration, she is a woman in love who want to preserve the life with her husband, a woman who wants to order, who wants to serenity, who wants solitude and peace.
One evening in the everyday life of the couple is interrupted by the arrival of Ed Harris, a surgeon in search of a place to stay that has exchanged the big house of the couple for a bed and breakfast. Bardem, intrigued by the man, and invites him to stay until the next morning: at this point, Pandora's box is unroofed, the chaos enters in the garden of eden, and things will fall so slowly inevitably.
Moving constantly in the territory of dreams and the visionary, mother! talk about everything without talking about anything: while the story continues without a stop, out of time, nestled in a tangible space, but the surreal (the house/cave/womb of the mother is the only location of the story, as if the world was constituted only by its wooden walls, extending up to the garden that surrounds them) Aronofsky imbastisce an allegory after another, and speaks to us of relationships, of broken hearts, of final and of the dead, of rebirths and lives that they start again from the ashes after the end of each (the end of one's existence, but also the end of a love story, or the end of a project's life); it speaks to us of inspiration, of art, of poetry, of fame, of the sacrifices that the fame purport, of love and of hate, of destruction and preservation, opening to the next, and closing, of immigration, of racism, of intimacy against expansiveness, of the union against the division.
Especially the mother! it's a film religious (a lot of the images that Aronofsky takes with the Bible, from frogs to fratricidal, by the gifts for the birth of the messiah the death of messiah himself, killed by the spasms of a society too chaotic to take care of herself) and ecological (if the house is an allegory of the world, look at how men manage to reduce it), in which Aronofsky has wanted to put all of his demons (“it is never enough, I must continue to try” we will tell the director through the character of Bardem).
And there are so many demons, in this film, the chaotic, nagging, self-centered and brilliant, anyone of us can find the own.
mother! Darren Aronofsky | Review of MangaForever.net