Whatever metaphor you go by, mother! doesn't work as a film

Rating: Null/10 (27 September 2017)

Ever since mother! got a mixed critical reception and downright rejected by general audiences (earning a rare 'F' on Cinemascore) there has been a cottage industry of folks trying to decify what the central metaphor is. Everything from Parenthood to Fame to Creativity to global warming and 'mother earth' itself. To me, the bottom line always is, not matter the intentions and 'hidden meanings' - does it work as drama? mother! fails that test - even if prodigiously so.
The cast and tech credits are all top notch. Shooting on 16mm film gives the film a hazy grainy look and feel that heightens the horrific atmosphere. Shooting in tight hand-held style works in spots, but, gives it a cramped crowded flavor that works against many of the sequences. You have this gorgeous huge mansion - use it, rather than work against that strength. Casting Michelle Pfeiffer gives a nod to the successful creepy house thriller WHAT LIES BENEATH. More to the point is the ad art that tips it's cap to Polanski's ROSEMARY'S BABY (but, in many ways, it's more like that famed Director's REPULSION). Horror fans may also think of Cronenberg's THE BROOD.
While the film begins with some clear allegorical references to motherhood (there's a lot of womb and vagina imagery), it soon becomes apparent that Aronofsky's focus is more on Javier Bardem's character than Jennifer Lawrence's (a more accurate title would be father!). Is it any surprise that a male filmmaker would make a film ostensibly about motherhood, but shift the focus? Again, no issue if the film works on a dramatic level. Unfortunately, Aronofsky has never been a subtle or supple filmmaker (he also lacks any discernible wit). The metaphors get piled on so heavily, relentlessly and in such an over the top manner (Aronofsky's signature "style") that long before the dual climaxes the film has devolved into self-parody. If the imagery weren't so grotesque, it could almost be enjoyed as a 'laugh at the screen' entry. And, again, if Aronosky ever evinced a genuine sense of humor, he might have realized that. Oh, what Polanski or horror-period Cronenberg could have done with the material. Aronofsky seems in need of a strong collaborator, or, at the very least, a producer willing to say no to some of his cock-eyed ideas. Of his films, THE WRESTLER works the best because it follows a distinct story and was written by an independent screenwriter (Robert Siegel). Whatever metaphor you choose to go by, mother! is a failed film, lofty intentions and all.