The Mother (2003) 720p YIFY Movie

The Mother (2003)

The Mother is a movie starring Anne Reid, Daniel Craig, and Anna Wilson-Jones. A woman has a passionate affair with a man half her age, who is also sleeping with her daughter.

IMDB: 6.91 Likes

  • Genre: Drama | Romance
  • Quality: 720p
  • Size: 944.38M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 112
  • IMDB Rating: 6.9/10 
  • MPR: Normal
  • Peers/Seeds: 5 / 26

The Synopsis for The Mother (2003) 720p

Toots and May's marriage is one of Toots being dependent on his wife. Shortly after Toots and May arrive in London to visit with their grown children Bobby and Paula and their respective children, Toots falls ill and dies. Toots' death brings to the surface the underlying strain that has always existed between May and both of her two children, and the unhappy lives they have all led. Now specifically with Paula, May is disapproving of her relationship with a construction worker named Darren. Not only does May think his occupation makes him beneath Paula, he's also a married man. Darren is in an unsatisfying marriage but doesn't want to leave it if only because of his son. Even after May gets to know and like Darren, she still encourages Paula to break up with him. The issue is that May herself has fallen in love with Darren, the two who begin a sexual relationship. What will ultimately happen between May and Darren also depends on Darren, who is floundering in his own life and doesn't...

The Director and Players for The Mother (2003) 720p

[Director]Roger Michell
[Role:]Daniel Craig
[Role:]Anna Wilson-Jones
[Role:]Anne Reid
[Role:]Peter Vaughan

The Reviews for The Mother (2003) 720p

Breaking TaboosReviewed bybelisandaVote: 9/10

'The Mother' is that extraordinary piece of film making - it gets you thinking, it pulls no punches - and ultimately it leaves you thinking. Very much open-ended as to the lead character's fate. Anne Reid (which I only knew briefly from her appearances in some Victoria Wood-led projects and thought a fine comedienne) is truly superb here. Not the stereotypical widowed housewife that was perfect in marriage and motherhood at all. And not all that free-spirited and adventurous at first. She plays her character just with the right note that rings true (well, it did to me). Powerful cast. Great script. Renaissance of European cinema indeed ;)

An honest and non-exploitative family affairReviewed byiain_connellVote: 8/10

This is an excellent film dealing with a potentially exploitative subject with great sensitivity. Anne Reid, previously best known in the UK for her TV roles including 'Dinnerladies' (a Victoria Wood scripted series on in-company catering workers, if you're wondering), gives a performance of finely judged understatement as May, a late-60s bereaved mother of two chattering class adults in an inner-London borough. Her husband Toots (Peter Vaughan) dies on their visit to the male of the latter species (Bobby), and we see the pair being rather casually greeted by Bobby and his family. May's teacher daughter Paula (Cathryn Bradshaw) lives nearby, however, and the relationship between May and Paula initially appears closer. Thus when May decides she cannot live in her own home and comes back to London, she is able to stay in Paula's house and do some child-minding of Paula's more appreciative offspring.

It is on May's visits to Bobby's house that she embarks on an affair with Darren, a mid-30s friend of Bobby who is working on a house extension. In what may be the first mainstream British film to so portray it, it is May and not Darren (Daniel Craig*) who initiates the encounter, and, at least to begin with, it seems that the relationship is founded on mutual respect. There is no explicit sexual content (at least in the DVD I saw: differences in the IMDb cast list suggests the existence of other versions), and the physical basis of the affair is handled directly but not exploitatively. More strongly portrayed is the relationship between May and daughter Paula, a recent convert to 'therapy and self-exploration', who announces that mummy has never been supportive of her. Paula is also Darren's lover, and when she finds May's explicit but rather poor drawings of Darren and May together, things go downhill in dramatic but controlled fashion. Only in an English film, perhaps, could a daughter announce that she is going to hit her mother, politely ask her to stand up, and duly wallop her.

In the mean time, May is being drawn into a putative relationship with a decent but older (of her own generation) member of Paula's writing group. The contrast between the ensuing unwanted intercourse and her affair with Darren is clearly made; it is at that point that May starts to acquiesce to Paula, and Darren's worm begins to turn (he reveals on cocaine that he may have been after her money, if not all along, but for some of the ride). So May finds herself superfluous to both of her children's needs, and finally does return home (but later leaves on a jet plane for pastures new).

The film's strength is that it portrays with unflinching but sympathetic truth the nature of contemporary adult parent-sibling relationships, where bereavement may leave the surviving parent feeling more alone than if they had no-one to care for them. This is not new, but the openness of the portrayal of sexual need in the over-60s may well be. The darkness of the film's content, from a screenplay by Hanif Kureishi, stands in contrast to the way in which it is lit (it seems to be perpetual summer), and the overall mood is uplifting - it could so easily have been yet another piece set in a dour and rainy England. The ending is perhaps under-written, as we don't know where May is going or for how long - perhaps she's Shirley Valentine with a pension, she's certainly no Picasso. Anne Reid is, however, revealed as a fine actor whose professional life will surely have changed forever. Like Julie Andrews in Torn Curtain (said by Paul Newman), "There goes your Mary Poppins {read Dinnerladies} image for good".

* Yes, he: announced Oct 2005 as the new James Bond.

Michell redeems himselfReviewed byHedgehog_CarnivalVote: 9/10

It's hard to imagine a director capable of such godawful crap as 'Notting Hill' pulling off something as sensitive and as attractive as this, but well, here's the evidence and it's quite compelling. Several have alluded to TV drama, and yes, this does have a seventies Play for Today feel at times, but is always a cut above, mainly I think owing to some quite superlative acting from Anne Reid and to a fine script which shadow-boxes with cliché without ever getting one on the nose, except maybe right at the end. (I didn't like either the tracking shot of indifferent goodbyes through the hallway, nor the oh-what-a-beautiful-morning final scene: she deserved a more studied finale than that I think, after all that hard work. The slippers business was a bit OTT too, on reflection).

What I mean about avoiding cliché: well, I for one had a sinking expectation that the "mature" man May's daughter tries to set her up with would be cast in 2 dimensions as a repulsive old bore, so as to point the contrast more painfully with the attractive, virile young geezer he is unwittingly competing with. Instead, we get an unexpectedly subtle and sympathetic cameo of a lonely, clumsy, not entirely unlikeable and very human fellow, who nevertheless doesn't have much of a clue about entertaining a woman. It was around that point I started to sit up and pay more attention. Here was a script that let the actors breathe and do something interesting with fairly minor parts. Almost Mike Leigh in that respect (minus the contrived catharses that the latter inexplicably goes in for).

And of course I was, as everyone probably was, dumbfounded by what Anne Reid does with her character and with her body. She's /not/ "the repressed, dutiful housewife discovering herself for the first time", this is far too simplistic for the character we have. Again and again there are allusions to her having been a "bad housewife", not to mention that thing she does with trays, trying to look nurturing and comely and only succeeding in looking awkward. The daughter accuses her of having "sat in front of the TV all day" instead of, well, whatever her motherly duties might be presumed to have been: she has no answer. She never was a model wife and mother, at least not to herself - that's where a lot of the poignancy comes from, the sense of someone having wasted a life trying to fulfil a role she simply wasn't good at, ever.

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