Though by no means a sophisticated examination of motherhood, it's nonetheless some kind of hysterical expression of thoughts surrounding the subject and afloat in the public mind.
In "Mama," Chastain is not the archetypal average person you usually find in horror films. She is someone quite specific and therefore more recognizably real-world to us - thus more anomalous and interesting in a horror context.
She is a no-nonsense modern woman with a career on her mind who doesn't want kids and has no real reason to like these kids in particular. Yet we see her opening up to the experience, not in some corny, sentimental way, but in the forthright way such a woman would. That's probably what attracted a major actress to this role; and it's what "Mama" offers us that lesser horror movies don't.
Director Andres Muschietti is cinematically literate - in one example he borrows a flashbulb effect from Hitchcock's "Rear Window" - and he has visual panache. Much of the movie is surprisingly beautiful. Muschietti also casts the movie well, down to the faces of the featured players, who are just a little more vivid than usual. And he somehow knows how to get successful performances from children. But, speaking of children, one caution.
How was this movie rated PG? I haven't seen this movie yet, but have been excited about it ever since the preview.
The lighting and cinematography really stood out as unique, and the fact that the "step-mom" character wasn't a stereotypical mom appealed to me as well. But I am familiar with this plot, it is all too common in TV and movies.
The anti-motherhood character is almost obnoxious in how self-centered they're portrayed, and they only become more likeable as they tone down But speaking as a woman who had a kid way too young and has had to struggle with the balance between my own identity and motherhood, I can see what this kind of character is born from.
If you're not a natural born martyr type, settling into motherhood is a challenge for anyone. For most women in fact, even those who are naturally self-sacrificial. It doesn't mean giving up your career, your dreams, and your identity, but it does mean missing out on things from time to time, not getting to sleep in as often as you'd like, and having to take care of another human being at times when you really don't want to Especially if you're a single mom.
Also, this makes me think of a girl I know, and I think others may know the same type of girl Then you start noticing they do it even more when guys are around, as if they're presenting a challenge for men to come in and "tame" them out of their selfish ways and turn them into the marrying, baby-making kind.
Time really tells the truth with these girls because the second they decide to get married and have kids they're total nazis about it - the opposite of everything they used to be. Just another example of where screenwriters get their ideas. I'm sure they knew someone like that. I haven't seen the film, but I was fascinated to discover that Mama herself is not a CGI creation, but a real human actor named Javier Botet. I give Sofia Coppola a lot of credit for not writing into the script a sexual relationship between the two.
In Hollywood this would be like taking the financier's money and not worshipping at his or her feet. Some of the things that are in the surroundings look as??
When it is determined that a wacko, serial killer has set his sights on a Miss United States beauty pageant, Agent Hart is a reluctant last choice to go undercover. Seeing this film, I would not have guessed it would have won so many awards.
Over time, Victoria becomes more like a normal child, but Lily retains her feral nature; this is attributed to the fact that Victoria was older and thus had socially developed before their abandonment in the woods.
Over time, Annabel becomes attached to the children, and later, Victoria begins to prefer her over Mama, but Lily still remains completely loyal to Mama. Annabel becomes aware there is something wrong and that Mama may indeed be real.
Victoria worries for her safety, saying Mama gets very jealous. Dreyfuss begins to believe the stories of Mama, first because Victoria is able to tell stories with information she shouldn't be able to know, and later because he actually sees Mama.
In the course of the investigation, he obtains custody of the corpse of Mama's baby. Dreyfuss comes to believe that Mama is located in the cabin in the woods and goes to investigate one night but is killed by Mama there.
The girls' maternal great-aunt Jean Podolski visits one day, but believes Annabel is abusing the children due to bruises Lily has from her animalistic tendencies and begins to spy on the house for proof. Lucas has a dream induced by his dead brother while in a coma, asking him to save his children and pointing him to a location in the woods.
Annabel visits Dr. Dreyfuss's office after another supernatural night at the house but finds out he is missing; she steals his objects related to the case. At this point, she learns of the aspects of the case which the doctor had found out about and finds the baby's corpse, as well as Mama's past life. At the same time, Mama becomes furious and attacks the children and Annabel; Victoria tries hard to defend Annabel and pleads for Mama to stop, but Lily is still clearly loyal to Mama.
Annabel is knocked out, but at the last moment Jean breaks into the house and has her body possessed by Mama. Mama uses this body to take the children to the cabin.
Annabel wakes up, grabs the baby's corpse, and drives to the lake, finding Lucas along the way, who has left the hospital and gone to the site his brother told him about in his coma dream. They arrive at the cabin, finding Jean dead on the floor but neither Lily nor Victoria.
Annabel sees the cliff that Mama had originally jumped from; remembering the warning that ghosts are twisted souls doomed to repeat their mistakes, she realizes Mama's intentions to re-enact her fall and jump off the cliff with the children. Lucas and Annabel arrive in time to stop the children from jumping, but Mama attacks them. The assault is stopped when Annabel offers Mama a bundle, containing her baby's corpse, and Mama begins crying, preparing to jump off the cliff with it, her twisted appearance reverting to her beautiful human one.
However, as they are leaving, Lily shouts to Mama and she regains her twisted appearance and attacks again, knocking out Lucas. She grabs the kids and walks to the edge of the cliff. Annabel tries desperately to stop Mama, eventually beaten to the point that she can only hold onto Victoria.
0コメント