They lurch and fail to explain.
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They spend too long motivating what's already understood. They hide their intentions poorly, say the quiet part loud, and obscure the loud parts in hyperbole, or hysteria, or drowned out in even louder noise. It's often blamed on the unintentional failure of the proper emphasis. How boring would Blue Velvet have been if Sidney Lumet directed? Or if Pulp Fiction had been told chronologically? I'm all for movies that go off the rails, or maybe have no rails to begin with. Aronofsky seems to have embraced the "hysterical" part.
I don't think there's anything unintentional about mother!
It pretty clearly screams early its uber-trappings as idyllic domestic drama as ripe for decoding. Visions of beating hearts and bloody floor openings presumably aren't to be taken literally, and a rogue's gallery of arbitrary visitors into the kingdom of the needy creator Bardem lead to the destruction of his talismanic crystal egg in his study, which he thereafter shutters closed, ensuring no one else will enter. Should our lead character Lawrence take this seriously or personally? A disorienting, hyper-subjective mise-en-scene centered on our heroine frustrates and compels us to watch.
Wondering when the rabbit scene is, waiting for him to pull out an axe , or even just the mother part. The real screams come soon after. It helps to know your film history. It also makes you impatient with ground already trod. Aronofsky clearly had big metaphors in mind, and relishes the cognitive challenges of making plot into thesis, philosophy into conflict. He's made dreams carnal, reality into hallucinations. From Pi to Noah , he reduces elevates?
He strips his symbols of literal meaning by making them too literal. In mother! It's a POV fallacy , which leaves us looking in the wrong direction, but the plot's hiding in plain sight.
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