Le prix de la passion

JJack100 couldn't be more ridiculous in her/his assessment of this film. "The Good Mother" is a wonderfully acted, beautiful little film that is completely underrated. Very basically, it illustrates the problems that sometimes might ensue due to simple "clashes" of culture and social morais, even though both are western (she's American, he's Irish). It might have been interesting to see how the daughter describes to her biological father what actually happened with the boyfriend. But beyond this single observation, it is to some degree a very interesting little character study of a single mother finding her way and stepping into the world of dating. The relationship between the mother and the daughter is solid, and it is this very relationship that the mother has invested so much of her life cultivating, nurturing, and perfecting. But now, she is confronted with the possibility of losing the one accomplishment, this relationship, to which she has committed herself and about which she feels very proud. Overall, this is a quiet, very well acted, and ultimately heart-wrenching film.

Diane Keaton and Liam Neeson are great together, but the subject matter is hard to watch.

The points of view of the different characters are well presented. You can understand everyone's behavior and conclusions.

Would I have preferred a tidy, happy ending? Yes. But this movie doesn't take the easy way out. It tackles a difficult situation caused by "enlightened, progressive" thinking, and leaves you pondering. I so wanted to point out to the characters the early errors so the catastrophic ending could be avoided.

THE GOOD MOTHER presents one of the most honest portrayals of awakening female sexuality and committed love on film.

Painful as this film is - especially for women - it is accurate in its portrayal of the intrusions of the state on the lives of parents. Laws and practices vary by state, but Massachusetts is notable for its readiness to separate parents from their children for minor infractions or parenting the state disapproves of. It is a warning to parents to stay away from protective services if their beliefs are progressive in ways the state does not agree with.

I'm cautious about films with a message: they are too easily heavy-handed and preachy, or on the other extreme capable of producing a mass "understanding" that is actually untrue ("The Klansman/Birth of a Nation" comes to mind). Films dealing with sexual attitudes can very glibly preach either "damnation for transgression" or "freedom from repression" with equal superficiality. This film is remarkable for painting all its characters with dimension: no one is evil, but everyone can be weak, afraid, and make poor decisions with good yet fearful intentions. The acting is terrific, so you feel satisfied at having seen a movie of quality at the same time you feel frustrated, infuriated, and finally exhausted by the outcome of the plot. Another example of Leonard Nimoy's excellent qualities as a director, forever lost - I'm afraid - in the strange perception that his work in Star Trek makes all of his career somehow lightweight.

Dreary, rather annoying film-adaptation of Sue Miller's book (directed by Leonard Nimoy!) has Diane Keaton in one of her weakest roles as a single mother sued for custody of her child by her ex-husband. Seems mom's new Bohemian boyfriend (Liam Neeson) is a bad influence, and after Keaton's little girl sees Neeson undressed and begins asking grown-up questions about sex, any viewer might understandably side with the ex (who is made to be the villain of the piece). Beginning with a puzzling prologue which hopes to show the different ways in which we view sexuality, Nimoy's take on this material is just confounding. Keaton never really develops a character, and I presume we're supposed to empathize with her simply because she's lovable Diane Keaton. Aside from some OK technical merits, the film is muddled beyond repair. * from ****