The Mother

"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.

I'm usually harsh on British movies as they are generally predictable, over-acted, obvious in dialogue and heavily reliant on cliched emotional set-ups.

Although this could be accused of some of those traits it dealt with a lot of issues very uncomfortably, far more so than if this had been a simple, tidy, loose ends all-tied TV drama. A couple of times I winced at what I was seeing but was fairly quickly drawn back by a follow-up scene which resumed what, overall, was an excellent film.

Emphasis has been given to the older-woman-having-sex aspect but there's far more to this film. If you don't like your family and friends then this might push you to re-evaluate those relationships. Might reaffirm what you have but it's definitely worth seeing although it's not all easy viewing.

Of all the films I have seen this year (2004), none has affected me as deeply and personally as "The Mother", and on so many levels.

For one thing, watching May deal with the grief and loss and sudden disorientation of widowhood, I could not help wondering how my own mother will cope when the time comes, as it surely must, for her and indeed for all of us.

But, as May's story unfolded, it was my own sense of grief and loss and disorientation that I experienced anew. May and I share something in common: not widowhood, but age, or rather the loss of youth, and the invisibility and untouchability that come with age.

I could relate to May's need for passion, her need to be loved, her need, not so much for sex, but simply to be touched. But as we grow older, we are ironically shut out and shunted aside and denied the very thing our souls cry out for. (Note: There are some disturbing and shocking images of sexuality in "The Mother", but don't let them put you off and blind you to the real message of the film.)

May, at least, rediscovers another passion within -- to create art -- and so is able to live again. Not all of us are so fortunate. In this respect, I identify more with May's daughter Paula who, when love and passion fail and die, feels that her creative expression is no longer valid and worthwhile, and destroys her works in a fit of despair.

May is a woman in her late 60s; I am a gay man in my late 40s. Yet our stories are similar in so many ways. What May experiences in a matter of weeks, I have felt over the past decade. My passion has yet to be rediscovered.

It is no accident that "The Mother" was scripted by Hanif Kureishi, who gave us "My Beautiful Laundrette", a love story about two gay men in the flower of youth. "The Mother" is at the other end of the spectrum, a story about age and the denial of passion. To paraphrase the title of another Kureishi film, "The Mother" might aptly be titled "Sammy and Rosie Get Old".

While movie titles contains the word 'Mother', the first thing that comes to our mind will be a mother's love for her children.

However, The Mother tells a different story.

The Mother do not discuss the love between a mother and her child, or how she sacrifice herself for the benefit of her child. Here, Notting Hill director Roger Michell tells us how a mother's love for a man about half of her age hurts the people around her.

Before Daniel Craig takes on the role of James Bond, here, he plays Darren, a man who is helping to renovate the house of the son of the mother, and sleeping with her daughter as well. Anne Reid, who was a familiar face on TV series, takes up the challenging role of the leading character, May.

The story begins with May coping with the sudden loss of her husband, Toots, in a family visit to her son, Bobby. While she befriends Darren, a handyman who is doing some renovation in Bobby's house, she was shocked to found out that her daughter, Paula, was sleeping with Darren. At the same time, May was coping with life after the death of Toots. Fearing that Harry and Paula do not wanted her, May starts to find her life going off track, until she spends her afternoon with Darren.

Darren was nice and friendly to May, and May soon finds some affection on Darren. Instead of treating him like a friend, she treated the man who was about half her age with love of a couple. Later, May found sexual pleasure from Darren, where he gave her the pleasure she could never find on anyone else. And this is the beginning of the disaster that could lead to the break down of a family.

The Mother explores the inner world of a widow who wanted to try something she never had in her life, and solace on someone who is there for her to shoulder on. This can be told from May buying tea time snacks for Darren to fulfilling sexual needs from a man younger than her, where it eventually gave her more than she bargained for.

Anne Reid has made a breakthrough for her role of May, as she was previously best well known for her various role on TV series. As she do not have much movies in her career resume, The Mother has put her on the critic's attention. Daniel Craig, on the other hand, had took on a similar role in his movie career, such as Sylvia (2003) and Enduring Love (2004). If his reprising role of James Bond fails, film reviewers should not forget that he has a better performance in small productions in his years of movie career, and The Mother is one of them.

The Mother may not be everyone's favorite, but it is definitely not your usual matinée show to go along with tea and scones, accompanied by butter and jam.

A fierce, shockingly intelligent piece of work from the gifted British writer Hanif Kureishi who wrote "My Beautiful Laundrette", (this is the best thing he's done since then). It's about intelligent people whose lives don't add up to much. They've squandered what they have been given and are largely empty vessels. The only character on screen who is alive is the mother of the title yet she feels dead inside until a rough handyman shows her some affection and awakens her to the joys of sex. He has his own motives but Kureishi treats him with a good deal of compassion. This is a film in which people and places feel familiar, where characters exist beyond the confines of the screen. In some respects it's a bit like "Sunday, Bloody Sunday" but it's an altogether tougher piece of work. The director, Roger Michell, allows scenes to build instinctively. And it is beautifully acted.

As the eponymous mother Anne Reid betrays her wasted life in every gesture. There is not a false note in her extraordinarily lived-in performance, and that very fine actor Daniel Craig displays shadings to his character than even Kureishi hasn't tapped into. If the film strikes a false note it is, perhaps, in the character of the talentless daughter, caught up in a messy affair with the man her mother seduces (or should that be the other way round) and even messier life, but she is so well played by Cathryn Bradshaw she hooks you in nevertheless. The film is also extremely beautiful to look at (DoP Alwin Kuchler) and must rank, unhesitatingly, as the best British film of the year.