Two creators, credit enough for one: Mother! & misogyny

This article was first published by The National Student on 28th September 2017

Mother! is the least “meh” movie of the year. 

I still can’t believe a major studio released this ever, let alone in 2017. Is it flawed? Yes. It’s drowned in metaphor, and its structure is designed in full-on worship of “film-as-allegory”. The subtext doesn’t just become text, it becomes a sledgehammer that smashes you in the face, and proceeds to ask, “do you get it?”*.

The setting and protagonist are scant of mundane details, to a difficult-to-relate-to degree, were it not for the permanent POV of Jennifer Lawrence’s protagonist. She and Javier Bardem’s ‘Him’ are not a warm and loving couple, but neither is it a screaming daggers relationship. The film is also not nearly as tense as it thinks it is, and as delightful as Michelle Pfeiffer’s scenes are, they’re hilariously awkward, not unnerving. Aronofsky doesn’t quite balance his Hitchcockian instincts with his jet-black streak of humour. And, the obscenely bananas finale is cruel beyond the exploitative. This is a horror movie for horror movies.

But boy oh boy, does Aronofsky commit to his metaphors. What emerges from this madman’s kitchen may be difficult to swallow, with way too many ingredients in the blender, but it delivers a mean kick. My perspective shifts whenever I consider those different ingredients, yet his central point seems clear: that at the intersection of (frequently toxic) male creativity, celebrity culture, environmental destruction, Christianity, and the enduring horror of unwelcome guests, is misogyny and mistreatment of women. Lawrence’s ‘mother’ is the story’s true power, yet at every turn her value is dismissed, desecrated, and ultimately destroyed.

mother isn’t just renovating the house, she creates it. It’s her crystal heart that restores colour, form, and life to its barren skeleton. Her life beats within its walls. It may be a work in progress, but from the sunshine walls to the unbraced sink, it’s hers. Her home, her protection, for His creative nourishment.

And it’s disrespected from the start, beyond Him who goes walking away “to be alone”; amongst the first things the quietly leering Man (Ed Harris) says, upon hearing that the renovation is her doing, is “You’re not just a pretty face!” Once the sink breaks, her “pretty” face drops the façade of civility, and she expels everyone from the house amidst the minor flood. Not Bardem’s auteur at all; Lawrence’s matriarch does this in righteous, unshackled rage. Stepping outside the film, everything I’ve read tells me it was Him who expels them.

Immediately following the flood, Him and mother explode into angry, passionate procreating, seeding new life and poetic stimulus. Six months later, the baby kicks and mother rushes to tell Father, except He’s preoccupied, standing at the edge of the world in awe: his poem is finished. When mother reads it, she experiences its meaning, and we see the house in full for the first time. Observing it in its devastation, He reaches out his hand and mother takes it. It’s the clearest expression of their solidarity and partnership in the film thus far, initiated by Him. Connection prompts their home’s rebirth, as a rush of green clearing away the ruin, forming from above, a breast-shaped world.

She declares His work “perfect”, ending in tears. Yet the above’s metaphorical vision is a lie. That will never be how the house is restored. What the poem has inspired in her is plainly a recasting of all her work and power as, at best, a joint venture – and people love it. When Kristen Wiig’s publicist/Herald arrives, mother is lauded as “The Inspiration!”. She provoked the poem about herself and her creation. But everyone in the house sees her as an interloper, preventing them from being touched by Him. The Herald eventually runs across mother again, and, recognising her existence as a threat, orders her execution.

And then there’s the baby.Her one finished work, to be adored by her forever, is consumed by a mob as a means of being closer to Him. Yes, His seed is vital to the boy’s existence, but so was mother to the poem, and no-one sees it as hers. Fundamentally it’s the same as mounting the crystal heart – the resulting product could not exist without Him, but the very literal energy that results is all hers. “I’m his mother!”, she roars when He asks to hold him. Her child is a profoundly private and personal creation; whilst she shared her joy with him, He was only concerned with the poem and the people.

Everything that mother experiences, from a loathsome pick-up artist to a ferocious beating, stems from misogyny, and most devastatingly of all, His blithe ignorance to all that she does.

Their relationship isn’t just “Proud Creator and Doting Wife”, nor “God and Mother Nature”. It’s God & God. Humanity’s masculine conception of the divine, and the divine femininity that such a conception wilfully ignores. That’s not to suggest that the archetypically submissive behaviour of the latter is to be idolised – frequently in the text, mankind disregards mother’s clearly expressed desires, her fury grows by her rightful divinity being invalidated.

Their (singular) power is divided into two genders, and the male counterpart of this cycle is the dominant creative inviting love and sharing affection. The people love Him, as mother gives all she has: her body into the house; her love to the work she does for Him; her spirit through the poem; her soul in her son; finally, her heart, to start it all over again. For those who take, She will never be enough – Her power will not be credited, and they will replace her in search of someone else.

*If you’re reading this, I have become this sledgehammer and I am not sorry.


Album Review: Wolf Alice – Visions Of A Life

This article was first published to The Edge on 28th September 2017

We probably don’t give Wolf Alice enough credit for being consistently apparent on Radio 1 playlists. They’re not an easy group to categorise: too ominously moody for the Pop-Rock sold by The 1975, not always raucous enough for the nascent hardcore of Royal Blood crowds, and with surely broader influences than the pleasant power chord pummelling Indie of Catfish And The Bottlemen and Circa Waves. That Visions Of A Life is more experimental, and more varied than their debut is impressive. And if the sacrifice for that is losing the first album’s consistency and new music smell, it’s not a bad deal. Continue reading

Film Review: Kingsman: The Golden Circles

This article was first published to The Edge on 22nd September 2017

It’ll be a cliché by the time you read this, but if you disliked Kingsman: The Secret Service, you’ll probably hate The Golden Circle. What made that film so surprising upon its release cannot be replicated, because it was Matthew Vaughn going all in on button-pushing non-winking satire. Repeating the brazen opening, the church sequence, or Pomp and Circumstance fireworks would only have diminishing returns, no matter how laser-pointed the jokes were. The only way to make a sequel that lives up to that watermark is to do something that develops the characters in new directions. That requires a story as finely-tuned as the first’s, which is something The Golden Circle doesn’t even come close to having. Continue reading

“I might as well just drink all the free stuff” – An Interview with Fickle Friends

This article was first published to The Edge on 18th September 2017

The rising stars of British Indie Pop, the Brighton-based Fickle Friends have gone from strength to strength in the past 12 months – signing a record deal, working with award-winning producer Mike Crossey, playing to 8000 people at Reading & Leeds, and most recently releasing their new EP Glue. Ahead of the band’s October tour and date with Southampton’s Engine Rooms, I spoke to singer Natt Shiner about old songs, new friends, and free booze.

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Album Review: Mount Kimbie – Love What Survives

This article was first published by The Edge on 8th August 2017

Ever since emerging in the Noughties Dubstep crowd, Mount Kimbie have challenged genre. Their interpretation of that scene practically deconstructed itself, employing elements of R&B and electronic, collated with the mystery from their warping of field recordings. Meticulously arranged production characterises the effortless feel of their tracks. Yet their third album Love What Survives demonstrates a greater relaxation than ever, along with more of Dominic Maker and Kai Campos’ boundless experimentation; Mount Kimbie now includes imperfections.

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Album Review: PVRIS – All We Know Of Heaven, All We Need Of Hell

This article was first published by The Edge on 28th August 2017

Given the recent revival of American emo and indie rock by bands like The Hotelier, Sorority Noise, and Boston Manor, the work of PVRIS in 2014 debut album White Noise feels out of step just three years on. Taking the wall-of-sound technique and song structures found in chart-bothering dance music, and reapplying those same techniques with rockstar vocals, bombastic drums, and *loud* guitars is an inspired trick and one that worked to their advantage in 2014. It’s also a remarkably obvious one. Produce songs as pleasantly moving as any number of Guettas, Harrises, and Aviciis have made, in the outfits of a fresh rock band? Why didn’t anyone else succeed at that? By its very nature, such a trick could only work once – if musicians were magicians, PVRIS would give away the secrets to the coolest tricks whilst performing them. Continue reading

Film Review: Valerian And The City Of A Thousand Planets

This article was first published to The Edge on 7th August 2017

The first thing that you should know about Luc Besson’s return to the space opera genre, two decades after The Fifth Element split critics and gained cult status, is that he hasn’t set out to do anything differently in Valerian And The City Of A Thousand Planets. This isn’t like any other major blockbuster released this year. In its structure, characters and imagination, Valerian does things differently. Its closest counterpart this year is, coincidentally, another Dane DeHaan starrer, Gore Verbinski’s A Cure For Wellness. They’re both apparently carte blanche films for eccentric directing talents, which end up as lopsided, thoroughly weird beasts. Continue reading

Review: Imagine Dragons – Evolve

This article was first published by The Edge on 15th July 2017

Can it really be only four and a half years since Imagine Dragons’ debut album Night Visions took our world by storm? The band that future historians will cite as the biggest influence on the soundtracking and promotion of films and TV in the 2010s (perhaps next to only Lana Del Rey) will neither go away nor succeed in proving that they matter. Be honest with yourself – did you know there was a third Imagine Dragons album released in June? Did you know that in the last year they had released songs other than disposable made-for-movie-soundtrack singles like ‘Sucker For Pain’ and ‘Levitate’? Did you know they are the 10th most popular act worldwide on Spotify, with nearly double the monthly listens of cited “Similar Artist” OneRepublic? Continue reading

Interview: The Big Moon

This article was first published by The National Student on 7th July 2017

A few weeks after their show at Radio 1’s Big Weekend, The Big Moon are taking a break. Glastonbury is ahead (though now behind), and in the middle of the summer is a U.S. tour with Marika Hackman. So how do the four girls take a break?The Big Moon 3

“I like to do normal stuff, since being in a band isn’t really normal, it’s a bubble life. When I’m back I just like do DIY, lots of projects, being outside, gardening, building shit. So, to just do normal stuff, because I feel like I’m cheating life sometimes. If I build a shed I feel better about it.”  Continue reading