This is an artistic film. I think the thrilling scenes are enough to carry a mainstream viewer but the artistic pace toward the climax is slow. Or rather concealed. Evil doesn’t start out bombastic and in your face, it starts with little background-noise slights and then more overt wrongs until it scandalizes into grand evil. Film critics have had contrasting reactions from “vile, contemptible, an embarrassment to Paramount Studios” to “riveting, masterpiece, visually striking.” It is downright Aronofsky and should be sealed with his family crest!
This nightmare (is this a dream?) is a Christian allegory. That’s what I see.
‘He’ (Javier Bardem) is the Creator God, the houseguests are depraved mankind, the baby is the expiating Christ given as a sacrifice for the forgiveness of our sins, the carbon crystal is the seed of life and the forbidden fruit (the perfect genesis that belongs to God alone).
But who or what is mother?
Some critics have said this is a story about mankind ravaging mother earth, where Jennifer Lawrence’s ‘She’ (there are no names of characters only Him, Her, She and He) is the world. I think that’s too lazy an interpretation. There are too many things that wouldn’t add up. If it’s a lecture on the despicable way we treat the earth then what does the innocent son of man have to do with it? What of God’s taking earth’s love and recreating? It seems God’s preoccupation is with man. He says, for a creator “there is never enough.” Else, there would be no creation. He must bore forth. For the act of creating is out of desire to yield something ‘other’ than thou. God’s constitution is conceiving. He conceived of the earth but his fondness is for humanity. This has me thinking about the Father, the Son and the Holy Spirit in the Christian Trinity- that perfect relationship, why more, why us? I’m not sure this film presents the relationship between God and His creatures in accord with Christian doctrine but it is an allegory and a work of art. That these themes are even given screen time is groundbreaking to me in an industry that’s void of existential thought beyond ‘I’.
If She isn’t simply mother earth could she be Lucifer? Lucifer after all is a fallen angel who had protected the throne of God just as She protects His writing room and His cherished tree of life- the carbon crystal. There is also great parallel of His poet’s words and the word of God. There is even anointing done with ashes, by God and his priest, of his fan followers, blessing them; “receive his words.” The allegory goes on. Lucifer was exceedingly beautiful. Lucifer grows loathsome of service to God. ‘She’ is a stridently sacrificial yet jealous character. Yearning to have Him to herself, to have His gaze exclusively upon her, to have first priority when viewing His work of art. Then Lucifer is cast out of heaven and upon judgment is burnt by fire and disintegrated into ash. Jennifer Lawrence’s ‘she’ forebodes about the apocalypse. The narrative in mother! displays genesis through the book of revelation.
Or maybe lowercase mother is simply a person. She is the commoner with the womb that carries Jesus. The same person who seeks a word with him on his walk up to Calvary to whom he says “My mother is someone who hears the word of God and does it.” Lawrence’s She is sick of God’s plans for their household. She is the commoner that is enchanted, even moved, by God’s word but doesn’t accept the radical regeneration that’s required. Her idea of service is still prideful. She doesn’t do it 100% for God, she does it for herself. The home is her work, the womb is her work. He receives praise for His work, She wishes for praise for Hers. This isn’t simply a presentation of misogynistic burden shouldered by women. All un-regenerated people are saturated in self-glory, unable to free themselves from that outlook. Unable to abide the leadership of Him.
There are plenty of stories in the bible that have God resetting the course. Outmoding animal sacrifice for the ultimate blood sacrifice Jesus Christ, Noah’s ark and the great flood, Sodom and Gomorrah, etc. Now, whether the recreation in the film means God as a frustrated amateur that just can’t seem to get it right and narcissistically scraps His work so that He can receive more love, more adoration next time or God as the perfect creator that, out of abundance of love, painstakingly gives second chances, there is artistic license with this. Does the creator ‘He’ create out of an absence and a desperation for more or out of an abundance and a selfless choice to share?
This film reminded me a lot of Aronofsky’s earlier works. There were beautiful cinematic scenes that reminded me of several films. There was Requiem For A Dream in the pulsating organic walls and delusional visions. I saw Lars Von Trier’s Antichrist with the opening and closing sequences of nature insidiously consuming civilization with its tentacles. I saw Gone Girl in the scenes of the crazed fans and paparazzi. I saw Children Of Men with the war ravaged trenches and slummed refugee camps. The decent into Hell was almost as if an elevator were taking you through the generations of the earth’s crust with each layer being an egregious era in mankind’s history.
One thing Aronofsky got spot on is the depravity of man. And I’m not talking about the stereotypical political jargon that a bleeding heart (no pun intended) would sentence you with but rather the curse we’re ALL under. One thing that struck me is the brilliant way Lawrence’s She, whether Lucifer or person or planet, is cast as someone you’re sympathetic for. Of course!…the barging in of houseguests should incense her, of course she shouldn’t forgive the ravenous mob, of course she should be paid more attention to for her sacrificial acts of service and steadfast support of her poet-genius. Of course She should have glory! That’s how mysterious, how outside our mortal comprehension, how ugly to our unregenerate souls, God’s plan is. We see Her as painfully taken advantage of and flogged again and again to the point of total annihilation while He coolly forgives. What is justice for Her? It would be too simple to present sin as the mob but the road to Hell is paved with human good intentions that are apart from His plan. God’s plan is so radical, so rebellious, that forgiveness for a murderous mob is among his orchestration. Certainly God’s justice is mysterious to us. Where His radical love and justice leads in the bible versus where it leads in the film are different paths.
There are so many layers to this film I need to see it again. I’m delighted to see such transcendent themes in a star-studded film. It makes you wonder, like Michael Knowles said in the Daily Wire, if Aronofsky hasn’t paid lip service to the Mother Earth interpretation simply to con mainstream audiences into watching the Bible for two hours.
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