Since his film debut Pi (1998), Darren Aronofsky has appeared simultaneously as a filmmaker, a researcher of various conceptions of existence, and as spectator and a great imitator of the concept of human lust. The characters in his six works so far have been guided mainly by the drive to survival. By implementing theology, philosophy and psychoanalytics in his works, Aranofsky is in an unfortunate position in which public opinion and criticisms are constantly in the diametrical opposition, stemming from the view that he is a pretentious director who conceals his inability by bringing an experimental approach to the view that he is the last true director who creates art because of it.
The practice that has dominated the previous six works of Aronofsky has remained in his latest film, which shows us the latest director's perception of the world without any circumstance.
The fire that devours the house, a flame that is constantly spreading across the space, , and at the center of the silence the girl of the innocent face, with her last breath, gives both hands forward and then silence.
Aronofsky cleans the previous film stage with this introduction, and then a new narrative is being told. The film follows an unnamed married couple, Javier Bardem and his wife (Jennifer Lawrence), who lives in a wooden house away from the world. He is a writer and spend his time in the study room, trying to write a new piece that would surpass his last bestseller, but he simply has no inspiration.
His wife, on the other hand, is trying to arrange their home, a house from his childhood that was previously destroyed in a fire. One day, at their doorstep, a man appears (Ed Harris) who claims he encountered their home by mistake but the writer accepts them in their home. His wife (Michelle Pfeiffer) appears behind a man, followed by their sons (Brian and Domhnall Gleeson), and then with all the humanity, who is shaking the idyllic relationship between the writer and his wife.
As an inspiration for the Mother! the director used the biblical template - the Book of Genesis, then the philosophical thought of Heraclitus of Ephesus, and Zeno of Kition, as well as the children's picture book The Giving Tree. When it comes to filmmakers, it's very easy to recognize the elements of Roman Polanski's Rosemary's Baby (1968) and the movie The House of the Yellow Carpet (1983) by Carla Lizzania.
Empowerment of the creative mind (by the Creator)
Aronofsky manages to tell his four stories about creation and human relations at the same time with his film. On the surface, there is a story about the Creator and the process that each of his work passes from the very thought through publication to the way he is perceived by the audience.. Many argue that Aronofsky directly reflects himself and his experiences as a creator in this narrative line. His current love affair with Jennifer Lawrence gives this interpretation a rather strong stance. Does this mean that Darren experiences the critical relationship of the audience as flesh slaughter, the irrational exploitation of his work where the audience like a mantra repeats the words of critics?
The first narrative structure is very easy to associate with the one where the story of divine creation is implemented. The biblical elements are widespread in the film both visually and by dialogue and action.
Regarding the references themselves, through the plot, the first symbol is perhaps the most difficult to notice. It's the character that Ed Harris interprets that's missing one rib, that is Adam. Although you could've missed the meaning of this scene in the bathroom, things are quite clear afterwards. The precious stone that's in the Creator's work room is the only thing that is forbidden to touch in the whole house, and the figure interpreted by Michelle Pfeiffer certainly does exactly that which makes her Eve. Then, while working on the story of Abel and Cain, Aronofsky takes the dialogue line without any changes from the Old Testament.
Emanations of the creative mind (by Mother)
The film can also be seen as a story about Mother Nature, her exalted creations that we neglect.
This segment of the story is noticeable only later in the film, but it is easiest to know him through people who are trying to help Jennifer Lawrence's character to complete the reconstruction of the house. Those who are watching the film more closely will see that even in moments of absolute chaos and destruction of the house, it's still possible to notice in the background several characters trying to bring the house to order.
As the director acknowledges, the original intention was to tell the story of human behavior to the Mother Nature, so we see the entire film through her eyes, through the individual mother shots, and through the look across her shoulder. By translating the film into these three types of shots, it helps understanding the emotions of the mother's character, and experiencing the feeling of loneliness, claustrophobia, abandonment.
The theme of abandonment could just be seen as the final preaching line. A couple whose relationship slowly collapses in a litter of monotony where one person does it's best to connect, while other fails to understand and appreciate, is definitely the narrative line that works best in the film. Although Aronofsky occupies us with all the biblical references,the glory of the artist and the story of the environment, he does all this to build the ignorance of the protagonists mother.
This was my translation from Croatian to English from Ziher hr article ''Neprimjetna majčinska kreacija'' by A.Fatic