The Mother of Tears

It took me several viewings of Argento's final film in his Three Mothers trilogy before I finally arrived at a sure, albeit ambivalent, conclusion.

The "plot", as they call it, involves an ancient urn which causes the city of Rome to erupt into violence. Robbery and murder run amok and it's all the result of Mater Lachrymarum (the Mother of Tears.) It's ultimately up to a young art student by the name of Sarah Mandy to stop the chaos.

Asia Argento plays the role of Sarah. I don't think Asia is without talent (I enjoyed her performances in Trauma and the Stendhal Syndrome – two earlier Argento efforts.) But while she shouldn't entirely be held at fault here, her performance isn't exactly great. She frequently comes across as wooden, although I believe much of this is a result of the poor dialogue. And perhaps more importantly, her wooden delivery and still fairly thick Italian accent give the proceedings quite a bit of charm. I wouldn't say her performance enhances the film, but I suppose her looks are enough to keep the film going. Adam James' character is boring and not at all engaging; this is true even when we're given the chance to poke fun at him. He does nothing for me, and, at best, is forgettable. And then there's Udo Kier. Doing what he does best, he's over the top enough to be memorable, but he somehow never crosses into "too ridiculous" territory. His screen time is short but worthwhile.

One of Mother of Tear's saving graces is its gore. Gone is Germano Natali's (Deep Red, Suspiria) garish, paint-like blood (excellent in its own right); instead, Argento opts for a more Fulci-esque display of bloody mayhem. The camera lingers on every moment of gory detail. Argento has rarely been this brutal; there are plenty of memorable moments for gore hounds and the film's first big sequence is a perfect example.

Mother of Tears' soundtrack frequently pays homage to Argento's past supernatural related works. The music during the aforementioned first murder sequence is a clear nod to Suspiria's over-the-top, yet haunting operatic music. And later scenes do more than enough to hint at Inferno's piano-based instrumentals. Overall, the film does a good job score-wise.

From a visual standpoint, Mother of Tears is hardly lacking. It may not have the Technicolor look of Suspiria or the nuanced production design of Inferno, but it's hardly dull. It takes some of the artsy indoor/outdoor scenes of The Stendhal Syndrome and combines it with the more elaborate set-pieces found in previous "mother" films.

Overall, Mother of Tears is a mixed bag. It has its boring moments, but it's also a good example of Italian Horror's love for grandeur and charming carelessness toward what is considered logical or politically correct. Those comparing it to films of Argento's golden era need to stop living in the past. Mother of Tears has its great moments and not so great moments and it is neither a failure nor a rousing success. If you're a fan of 80s "godfather of gore" era Fulci and take into account the 21st century's distinct lack of anything Giallo/Italian Horror-related, Mother of Tears is worth a watch.

When I stop and think about how far Dario Argento has fallen, it's enough to make me cry, but this final movie in his Three Mothers trilogy is so monumentally bad that, occasionally, the tears were of laughter.

Problem number one is the script, which borders on the farcical at times: new-wave witches (think Bette Midler in Hocus Pocus crossed with mid-'80s Madonna), a malevolent monkey, a friendly ghost, a taxi driver willing to pick up fares while the city is in chaos - even for Argento, this one pushes credibility a bit too far.

Problem number two is the acting - utterly dreadful performances all round, with Dario's daughter Asia the biggest offender (watching her character trying to will herself invisible is hilarious).

Problem number three... the visual effects: Stivaletti's practical effects are great (and make this one of Argento's goriest films), but the digital trickery is cheap and wholly unconvincing. How those awful ghost effects got the go ahead, I'll never understand.

Problem number four: the direction. Dario Argento has a crack at creating some memorable moments, but he's unable to work the magic this time around: the most notable shot is one long take, the camera following Asia as she wanders around a derelict building. It's technically impressive but ultimately pointless.

Problem number five is the ending: it sucks. After all that we have seen, the Mother of Tears (a naked silicon-chested bimbo) and her acolytes are destroyed in a flash, leaving Asia and the bloke she is with unable to contain their mirth. The joke is most definitely on us.

A generous 4/10 for the graphic violence, which includes a woman chucking her baby off a bridge, a person being strangled with their own intestines, a witch having her head crushed in a door, Udo Kier getting his face smushed, a neat eye-gouging, some throat slashing, and a woman impaled by a spear (which goes up her hoo-ha and comes out of her mouth!)

This was one of the biggest disappointments for me in a long time.

If you've ever heard the name Dario Argento - it's probably because in 1977 he crafted one of the most stylish and genuinely creepy horror movies of all time, called "Suspiria". It's one of my personal favorite movies of all time, from one of my favorite directors. If you can appreciate horror, or even if you can't but you're an open minded person, I suggest you give SUSPIRIA an hour and a half of your life because it's unlike any other horror experience you will ever have.

SUSPIRIA was intended to be the first movie in a series of three, known as the "Three Mothers Trilogy". After Argento's crowning achievement, he did the 2nd in the series in 1980 which was called "Inferno". Although Inferno was just as stylish and just as mysterious, it was not quite as effective or fulfilling as Suspiria in the end. Yet, it is still a bizarre cult classic. The soundtrack from Keith Emerson is probably even better than the movie itself.

Anyways...Argento decided to hold off from finishing off the trilogy, and ended up holding off for 30 YEARS..., so finally in 2007 he decided it was time to create the finale, The Mother of Tears.

What can I say? There are maybe one or two gratuitous murders that are worthy of the Argento name, specifically the very first in the movie which comes out of nowhere and may have you clenching your mouth to make sure your teeth are still there. It is always lovely to see Argento bringing back actors and actresses from classic Italian horror films - in this case it's Coralina Cataldi from his awesome 1987 film, Opera, and the roller-coaster ride that is DEMONS 2.

Aside from a few memorable deaths, this movie really has almost NOTHING to offer. It is nice to see someone making movies about black magic, demons, and sorcery since no one else really does that anymore. The concepts are wonderful but unfortunately NOTHING is pulled off effectively here.

For one, the CGI totally abolishes the legitimacy of the movie. It's some of the cheesiest CGI i've had to bare with in some time. I figured Argento would be smarter than this - but then again, he is getting really, really old...

Asia Argento (the director's daughter and lead actress) can act but she isn't given much to work with here. The script, as usual with Argento's films, is the weakest part. The dialogue is far too basic to keep your emotions invested in the characters. No one else stands out as a particularly great performer either.

The saddest thing of all is that the movie completely lacks atmosphere. The setting and atmosphere was always the absolute BEST part of the director's classic films. And the fact that one of my favorite bands of all time, Goblin, provided the majority of soundtracks heavily added to that. But they've been out of the picture since his 2001 movie, Sleepless. The sets were completely plain and in no way stand out. I appreciated the shots of the creepy old mansion like building towards the very end, but even that building looked fake and CGI-induced...and it was clear that it was not actually filmed there - which took a lot away from the entire finale.

The finale was probably the most depressing part. It felt extremely rushed, and aside from that, the "lead villain" who is supposed to be "the most evil of the three mothers" was SO half assed. A good looking chick with nice tits and some black make up around her eyes?????? c'mon!!!!!!! what IS this?!?!?! I wanted to laugh at it but was way too saddened by the film overall to have a good time with it. And then all of a sudden, it's over...

I was so let down!

I guess I'll have to depend on Asia Argento to make good movies instead from now on. Her last one, The Heart is Deceitful Above All Things, was a masterpiece of it's own kind!!! See it!

I saw this a few weeks ago and am still "processing" it, which I think is a good sign as there are some images and tonal aspects of the film that linger longer than its time on screen. That said, my initial reaction was a bit mixed. I hadn't seen any of Argento films after 'Two Evil Eyes' in 1990 and the overall look and loss of artistry was a bit jarring. It has a "made-for-TV" feel throughout and some rough CGI that really drags it down. The stylised "otherworldliness" of Suspiria, Inferno and many other Argentos (including some of the earlier giallos) is sorely lacking, with some quite everyday locations and characters (some of the witchy characters are basically goth teenagers that hang out at the shopping centre). Mother Lachrymarum herself also lacks serious gravitas: yes, she's be touted as the youngest and most beautiful of the three mothers, but her overall look and presentation seems more appropriate to soft porn. This, along with some very vicious violence that lacks the stylised aesthetic of his older work, contributes to an overriding tackiness in the film. Whilst some of Argento's 80s films may have sometimes seemed lurid, they were never tacky.

And yet, the extremity of the violence is what in some ways lets you know that this is an Argento, and it turns out to be one of the most hectic and crazed films I've seen of his. What it lacks in charm it makes up for in feverish brutality. You may call it undisciplined, but the accumulation of outlandishness in this film starts to have an effect and as it becomes more and more madcap, it also becomes more entertaining. The culmination is one of the most OTT and blood-soaked (until Luca Guadagnino's Suspiria came along, which possibly takes some inspiration from Mother of Tears). Along the way a fairly compelling mystery is spun with some cardboard characters, but the ending delivers a pretty satisfying pay-off. I'm glad Argento concluded the Three Mothers trilogy; whilst it might not have been the film we expected - or wanted - it still delivers, and rounds out the mythology without sullying the legacy of Suspiria and Inferno.

As the opening credits rolled by in the midst of medieval drawings, I couldn't help but wonder to myself. Is this it? Could this be it? Is this the long awaited return of the undisputed king of horror to his rightful throne? All the marks were on the wall. Asia Argento returns to the fold, and so does Claudio Simonetti (the mastermind behind Goblin and their beautiful scores for Profondo Rosso, Tenebre and Suspiria among others), Daria Nicolodi (Profondo Rosso, Inferno, Tenebre, Opera and writer of Suspiria), Coralina Cataldi Tassoni (Opera), Udo Kier (Suspiria), Sergio Stivaletti (Argento's regular SFX man since Opera) and his brother Claudio Argento producing. As if this first class ensemble from the Argento universe wasn't enough, the first tracking shot through a graveyard and above a door screams Argento and I can't help but wonder. Is this really it? As the rest of the movie unfolds, the first thing that becomes quickly obvious is that La Terza Madre is definitely not a throwback to his colourful 70's days. This is neither Suspiria nor Inferno and perhaps Argento wisely decided to distance stylistically the closing chapter of his Three Mothers trilogy instead of emulating his vintage style (and risking failure?). The movie is decidedly darker, with a DV kind of look that brings to mind his last couple of works and subtle yet effective lighting that reminded me of Mario Bava circa Black Sabbath. Not a bad thing, aye? A medieval urn that is discovered in the cemetery of Viterbo heralds the coming of the Third Mother, the powerful witch Mater Lachrimarum. As Rome is plunged into utter chaos with people committing random acts of violence in the streets, Sarah Mandy (Asia Argento) is called to battle this ancient evil.

Story-wise La Terza Madre is typically Argento-ish. Occasionally nonsensical, with a relatively weak climax that doesn't mesh well with the build-up that leads up to it and very sketchy character development and motivation. But if you're a member of the Rosso Brigades and a sworn Argento hooligan you won't let that stop you. You never did, right? This is Argento and you don't expect profound drama from his idiosynchratic blood operas. That's not why you come back for more every time. You know his stories are mere skeletons for him to hang on his stunning imagery and violence. It's the style, the set pieces, the masterful way that visuals mesh with the score, the intricate build ups that lead to beautifully staged gore. You come to his movies for that pure cinema that no one else can deliver. You always did, right?

So will you find it here? I can safely say that yes... yes you will goddammit! Of course it is not Profondo Rosso and neither Suspiria or Tenebre, but for those who have followed his career closely the past 10 years that's hardly a big surprise. This is Argento2k. Visually darker but soaked in blood and entrails and atmospheric as all get out. There's an apocalyptic air about it and combined with Simonetti's decidedly more dark-wave score (it has evolved from the 70's in similar ways as Argento has visually), it manages to be chilling enough for most of the duration. Also this may very well be his most violent and gory film to date. There are several long drawn out death scenes, gruesome and stylish that will please every blood hound out there. And the atmosphere is as dark and nightmarish as one would expect from the subject matter. Closer to Sleepless than Suspiria overall, but definitely rewarding and head and shoulders above most Hollywood horrors this decade.

Now for the bad. I didn't like the CGI. It's not that it's badly done. Far from it actually. Compared to the horrible CGI of movies with 10 times its budget like I Am Legend and The Mist, La Terza Madre is OK. I just happen to think that CGI generally cheapens a movie. So there are moments that one may find a bit silly or cheesy (such as a spectral Daria Nicolodi hovering in the air), but not as bad as other efforts. Also the climax is a bit unrewarding. After a series of gruesome gore scenes the ending is a bit too hastily put together. And the Mother of Tears is just not menacing or chilling enough. Another actress (decidedly older) should have played the part in this reviewer's opinion. Also the dialogue and character decisions may appear a bit childish or nonsensical, but again that's something I can live with in an Argento movie.

As the ending credits rolled by I asked myself again. Is this it? Well... probably not. At least it is not a 70's throwback nor is it as monumental as Suspiria. It's the closure of old affairs with new style and attitude. Think how Sleepless upgraded his giallo style for the new millennium. La Terza Madre does the same for his supernatural horror. Personally speaking, I'm just glad he's still able to make a damn good horror movie. His 70's gems will always be there so the man gets carte blanche from me to take his style wherever he wants. As long as the results are this good I have no reason to complain. He's probably the last of the masters of horror from his generation that still has it in him. As far as I'm concerned, even mediocre Argento is better than 90% of today's horror. And this is very good Argento...