"The Mother" is a raw unpeeling of relationships between older parents and adult children in a very contemporary take on the British "kitchen sink drama".
Every character is baldly selfish to the point of startling brutality. Each one responds to attempted openings of lines of communication with "But what about me?"
The naturalism is palpably realistic, such that when Hanif Kureish's script crosses a line to go a bit over the top it's upsetting and jarring.
Director Roger Michell is particularly good at capturing the domestic mise en scene of sounds -- from simultaneous conversations to children's chatter -- and sights, such as lingering over meaningful visuals from a pair of old slippers to a casually bare torso.
Anne Reid gives the gutsiest older woman performance since Kathy Bates in "About Schmidt" and Helen Mirren in "Calendar Girls," but those were mostly played for laughs and didn't reveal the painful de-layering of inhibitions. Her character's continued low self-esteem to the point of accepting abuse is difficult to watch.
Except for a very atypical appearance in the first "Lara Croft," Daniel Craig has avoided depending on his magnetic hunkiness on screen. Here, as in "Sylvia," his manliness is a protean catalyst for the plot. In a complex triangle of relationships, his carpenter obliges the other characters' obsessions to project their fantasies and needs on to him.
While the grandmother finds some independence and self-respect, I'm not optimistic about the grandchildren in this dysfunctional family.
Every character is baldly selfish to the point of startling brutality. Each one responds to attempted openings of lines of communication with "But what about me?"
The naturalism is palpably realistic, such that when Hanif Kureish's script crosses a line to go a bit over the top it's upsetting and jarring.
Director Roger Michell is particularly good at capturing the domestic mise en scene of sounds -- from simultaneous conversations to children's chatter -- and sights, such as lingering over meaningful visuals from a pair of old slippers to a casually bare torso.
Anne Reid gives the gutsiest older woman performance since Kathy Bates in "About Schmidt" and Helen Mirren in "Calendar Girls," but those were mostly played for laughs and didn't reveal the painful de-layering of inhibitions. Her character's continued low self-esteem to the point of accepting abuse is difficult to watch.
Except for a very atypical appearance in the first "Lara Croft," Daniel Craig has avoided depending on his magnetic hunkiness on screen. Here, as in "Sylvia," his manliness is a protean catalyst for the plot. In a complex triangle of relationships, his carpenter obliges the other characters' obsessions to project their fantasies and needs on to him.
While the grandmother finds some independence and self-respect, I'm not optimistic about the grandchildren in this dysfunctional family.