The movie feels like it's forever too
The
2013 movie Mama features one of my
new favorite actresses, Jessica Chastain, and the worst plot of the New Year.
You probably recognize Chastain from Zero
Dark Thirty where she was torturing terrorists. She learned everything about
torture, I assume, from the producers
of Mama.
The film begins with a man
shooting his wife and fleeing into a snowstorm with his two young daughters,
Victoria and Lilly. He wrecks his car and takes shelter in an abandoned, though
convenient, cabin. When he tries to kill his daughters, placing a gun against
Victoria’s head, a mysterious force snaps his neck and drags his body out into
the snow. The girls then live off cherries. Just cherries. Cherries that fall
out of the sky like they’re in Pac-Man. Several years pass.
The
girls are eventually discovered and adopted by their uncle and his girlfriend,
Jessica Chastain. This Chastain has not been nominated for an Academy Award nor
killed Osama Bin Laden yet, she is just a punk rocker who is introduced by
peeing on an EPT and celebrating its negative result. So she is thrilled when
her boyfriend adopts two feral children who refuse to sleep in a bed and can’t
speak English (not). Luckily, Chastain’s boyfriend, Victoria and Lilly’s uncle,
is injured mysteriously and put into a coma within fifteen minutes of the film
(because it’s not his name on the movie poster).
So
Chastain is stuck with these two demon girls who insist there is an invisible
being feeding them cherries and living in their closet—Mama. And of course, their
psychiatrist doesn’t believe them (because in every horror film EVER there is a
doctor who insists there is nothing supernatural happening, and an artist, like
musician Chastain, who insists there is, in fact, a “presence”).
So
the audience suffers through the “Look out behind you!” while the characters
dumbly insist there is nothing irrational about giant black vortexes appearing
in the walls and little girls playing hide and seek with the thing in their
closet while barely escaping their own horrible deaths with every scene. This
lasts for an hour.
SPOILER
TIME. The movie ends like this: the psychiatrist in denial dies, the girls’
Aunt Jean dies, and Lilly dies. Turns out Mama was an asylum patient who jumped
off a cliff with a baby in her arms and is now spending her days of the
afterlife searching for her child (which makes her not so bright, because
insane or not, if you jump off a cliff with an infant, it’s not going to
survive the fall).
Lilly,
the younger child, ends up jumping off the cliff with her imaginary friend Mama
and Chastain holds onto Victoria (who was always her favorite anyway) and watches
her go. Because in the end, what the audience needs to remember is, Chastain
hates kids.
This
movie had a contrived plot and lot of bad acting, but ultimately is not the
worst horror film I’ve ever seen. I suppose it even offered some fresh actual
Gothic elements instead of cheap gore and startling “jump-out” scenes meant to
hook the common modern audience. I appreciated it holding to the female
importance of a horror film—the idea that Chastain needed to find her sphere of
domesticity. She is seen doing laundry instead of having her own career in her
(probably mediocre) rock band. So it’s nice to see the movie teaching us a
woman’s role is as mother and housewife like it’s an episode of Mad Men.
The
movie was reminiscent of a Charlotte Perkins Gilman story—you have crazy women,
babies, the woman’s role, and women dying; key elements in any one of her pieces.
And as she is major influence to haunted literature, I suppose Mama did a few things right (if this were the 20s).
Ultimately
the ending left me feeling unsatisfied, like it could have been better, but
they ran out of time and slapped on a conclusion. And in the end, we're still all wondering "What with the frickin' moths?" This film is not recommended.
Is it wrong I spent most of the movie laughing at the girls crawling all over the floor like feral lizards?
This movie appeared to draw upon many references of gothic tradition. You think this film could help to define the modern gothic?
ReplyDeleteI think what really defined the modern Gothic is slasher films. Slasher films took the classic horror and evolved them in the 80s and 90s. Mama is more like an echo of a classic horror with a dash of something modern. It makes it a good premise basically, but an awful execution.
DeleteI think what really defined the modern Gothic is slasher films. Slasher films took the classic horror and evolved them in the 80s and 90s. Mama is more like an echo of a classic horror with a dash of something modern. It makes it a good premise basically, but an awful execution.
DeleteThat is a good point there. Never really thought about slasher films as gothic very much. That may be because I saw them as using visceral elements far too much to have much any reference to the gothic. Is there a film that you would recommend that is a slasher and gothic that I could perhaps look into?
DeleteHalloween the original. Yes, it's tacky and bad (because it's a slasher) but there is a scene in particular where Laurie (the main character) is literally hiding in a closet from Michael Moore and eventually triumphs over him.
DeletePay particular attention in any slasher to the sexual elements. The girl who survives in the end is always the virgin. The other women that do die are promiscuous.
If you want to skip the awfulness of most slashers, though, read Men, Women, and Chainsaws by Carol Clover. It's an awesome anthropology on slasher films.