Le prix de la passion

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.

Not particularly pleasant to watch. The events at the heart of this movie are supposed to be thought of ambiguously, as maybe not such a big deal. I don't know about 1988 Boston, but I live in the South in 2005. I think that here and now, if these sort of things came to light, there would be a lot more going on than a custody dispute. Probably a major criminal investigation, at minimum. Anyone has the right to live a bohemian or libertine lifestyle, but not necessarily the right to subject children to such things.

The movie could have developed the character of the ex-husband a bit more. As it stands you really don't know if his motivations are reasonable concerns about his child, or if he simply intends to stick it to his ex.

Everything else about the film, aside from the material was just fine. The lead acting, the child actor, Leonard Nimoy's direction were all good. Katey Sagal was good and looked scrumptious in a small part.

Worth checking out if you are willing to forgo the car chases and alien wars, and think about something. But don't expect to enjoy it.

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 ****

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.

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.