Ma Mère (2004)

Usually the French are much better at tackling "taboo" subjects, but the way this film was done was AWFUL. I appreciate the works of Louis Garrel and Isabelle Huppert, which was the only draw for me to watch Ma Mère. I hadn't read the book the film was adapted from, but the hype was too much to ignore so I watched it. BAD CHOICE. Louis Garrel was decent, as decent as he could be in such an awful film. Isabelle Huppert's performance was not her best, a lot of long pauses and dramatic painful-staring-off-into-the-world stares that just got annoying after awhile. The film did a bad job at establishing the characters. At some parts, I felt as if the characters did things for no reason without ever providing much background to why they act that way and other characters just felt really unnecessary to the story. You leave the film feeling like you don't understand any of the characters, why they do the things they do, even worse you leave not feeling a single emotion of sympathy or hate or ANYTHING for the characters. I also found myself lost at a few parts due to two reasons. 1.) The way the movie was filmed was very distracting, as if someone with a hand-held home video camera kept zooming in and out of the actors faces and 2.) some shots were very dark which made it difficult to understand what was going on (especially at the end). I felt like the film strayed a bit from actually telling an unique story, and became more about nude shots and unusual sex scenes to seem more "daring" and "edgy." I didn't feel like I took anything from the film, or the point of the film. If you want to watch a good Christophe Honoré film, I would advise you to skip this and pick up Les Chansons d'Amour starring Garrel as well.

Fmovies: If you like French existentialist movies (which in this case is also a perverse "coming of age" movie), this is one of the better ones; if not, don't bother. The first half is slow and cumbersome with the scenes more like vignettes to reveal the Son's naiveté, while the Mother remains inaccessible until the very end. While the second half remains cumbersome through choppy editing, it is more interesting with the introduction of Hansi and Loulou. Most people seem to get hung up over the Libertine attitudes portrayed through deviant sexual activities, but what I took away was the idea that the psyche of willing participants, and particularly the young or immature, can be damaged by any emotionally charged experience, be it sexual or religious. The struggle is to rise above it. The one scene of particular interest revealed the blurred distinctions between dominant and submissive personalities (Hansi & Loulou), with the Sadist revealed as a Masochist by the emotional damage they were inflicting on themselves through the physical damage inflicted on someone they cared about. The Sadist/Masochist roles are easily reversed as seen through Loulou's comment when he throws himself in the pool in the deleted scene.

I can enjoy sexy French movies as much as the next person. But this movie is simply gross, to the point of being almost comical. Its furthest excesses rival in bawdiness the kinds of high jinks you'd expect to see in a Farrelly Brothers movie, but without the jokes. Quite the opposite, this film is pretty dark. It could have been a brooding, beautifully shot, and deeply literary meditation on the tangled emotions, Freudian and otherwise, that run through families. Especially considering Isabelle Huppert, who I'd think I could enjoy watching do almost anything, maybe even eat a live horse or perform an emergency tracheotomy, her beauty and her abilities being so complex, limitless and profound. But I did have trouble watching her do the things she does here -- where the artfulness present in other parts of the movie is left behind and only absurdity remains. Perhaps I'm just a prude.

Ma Mère fmovies. As I watched the movie, I felt (probably like many others) somehow shocked by the powerful and explicit images. Yet it can't be said that this is merely done to make a controversial film. The viewer gets a slowly developing picture of the relationship between mother and son, or more correctly of the adaptation of mother's lifestyle by her son. Finally everybody is invited to morally judge the relations, actions and sayings of the main characters. But as most viewers are likely to enjoy the "forbidden" relationships or explicit scenes, who are we to give criticism? This film puts a whole new dimension in the concept of what is normal, allowed or understood as morally acceptable. It's sometimes almost revolting, and yet when you've seen the story-lines that led to these scenes, you may find the actions acceptable (or maybe I've a twisted mind). I would like to call the attention to the beautifully chosen soundtrack and the abrupt ending, which leaves the viewer a little bit disturbed.

'Ma mère' is a film on the edge. Director Christophe Honoré (who gave us the little jewel 'Closer to Leo') has adapted a tough book by Georges Bataille that explores incest, sadomasochism, love, family dysfunction, and nebulous moral values of conflicted adolescents caught in the web of sexual investigation. It is filled with difficult scenes and ideas and certainly is not a film for the faint of heart or spirit, but at the same time it is a brave film depicting the dissociative state of sexual mind to which we've come after the influences of such thinkers as Bataille, Foucault, Derida, Gide, and others. Christophe Honoré captures an impossible story extremely well on the screen! 17-year-old Pierre (Louis Garrel of 'The Dreamers') is a spiritually challenged adolescent home from his Catholic school to be with his mother Hélène (Isabelle Huppert) whom he idolizes and loves and see his father (Philippe Duclos) who is distant in every sense. Hélène finds it necessary to inform Pierre of her background (her husband raped her when she was very young, causing such anguish that she has become addicted to a life of immorality as a means of escape), a means of warning him of what close association with her could mean. Pierre is blind to all things negative about Hélène and with the news of his father's death, he demands to be included in the wild sexual life of Hélène and her female lover Réa (Joana Preiss). Hélène is sexually attracted to Pierre and elects to include him in her games of voyeurism (watching Pierre during intercourse with Réa, introducing him to the shallow and compulsive Hansi (Emma de Caunes), mutilation, and all forms of debauchery.

The group goes to the sunny islands off Spain where Pierre falls in love with the dangerous Hansi and follows her lead in learning about his mother's strange and dangerous proclivities, sexual acts which include the involvement of young Loulou (Jean-Baptiste Montagut), a young man whom they torture for the sake of sexual satisfaction. All the while that Pierre is being introduced into Hélène's bizarre world he is conflicted by his superego in the form of the Catholic Church: he is seen reciting catechism in the desert surrounded by a silent, nude Greek chorus a la Fellini. Ultimately the 'vacation' is over and Pierre returns home with Hélène and the ultimate incestuous aspect of the Oedipus complex plays out in a completely bizarre and very dark way. To say more would destroy the impact of the ending.

Isabelle Huppert is brilliant as always, her quiet outwardly plain demeanor disguising the profoundly ill soul inside. Likewise Louis Garrel makes the fragile, gullible, needy and severely conflicted Pierre understandable: we may not agree with his choices as he wades through the strange waters of perversion, but we never lose sight of his vulnerability and passionate need to be loved. There is a lot of graphic sex in this film, but this particular story could not be told without it. Christophe Honoré manages this strange tale by letting the story take us into the realm of the unreal and he never for a moment loses our interest.

Even the music scoring is substantive, using Samuel Barber's own setting of his famous 'Adagio for Strings' for the choral 'Agnus Dei', most appropriately heard when Pierre is mentally visiting his spiritual conflicts with his corporal deeds. This is clearly not a film for everyone, but for those who admire the French cinema history of uncovering strange tales,