There are three separate stories running throughout Mother and Child. The first is Karen (Annette Bening), a physiotherapist who is struggling to look after her ageing mother. Karen is continually guilty-ridden about giving away her daughter when she gave birth to her at just fourteen. Karen is pursued by a fellow worker in Paco (Jimmy Smits), despite her regular coldness. The second story follows Karen's grownup child in Elizabeth (Naomi Watts) who is applying for a job at a law firm run by Paul (Samuel L. Jackson). Elizabeth is a highly introverted woman, reluctant to be involved with anyone because of her abandonment and as such she has moved regularly from city to city. In spite of this, she begins a relationship of sorts with Paul, defined by casual sex. The final story is about a young couple in Lucy (Kerry Washington) and Joseph (David Ramsey) who are looking to adopt a baby of their own because they can't have children. They find themselves interrogated by a young teenage mother who has rejected numerous couples that have wanted to adopt her child when she gives birth. These stories are shown in an interspersing manner, gradually coming together though through chance and circumstance.
There must have been great faith in Rodrigo Garcia as a writer and a director because his film Mother and Child, a poignant picture about birth, has been backed by a number of significant Latin American filmmakers. Alfonso Cuarón, Guillermo del Toro and Alejandro González Iñárritu were all executive producers on the film, leaving the abilities of Garcia in rather high regard. The influence of Iñárritu is the most obvious throughout the film because like 21 Grams and Babel the narrative is told through a collection of separate stories that eventually unite, although in a more linear and deliberately cohesive manner. Interestingly, Mother and Child mirrors very similar thematic ideas to The Burning Plain which was written and directed by Iñárritu's former collaborator Guillermo Arriaga. That film also dealt with the guilt felt by a mother in giving away her child and the conflict between different generations. There are certainly some similar ideas explored here, but at length this film also reflects more on the way that some women cannot move forward or backwards to face the mistakes of their past. It should not be mistaken for a misogynistic view of women, just the inner conflict that could be faced by many. For almost two-thirds this is a great film because of its compelling nature to visualise powerful human relationships and fractured spirits, divided by loss and guilt. Yet in its final quarter the film feels entirely overlong and attempts to wrap up its separate threads together a little too neatly. Thus, out of the two films The Burning Plain would perhaps make for a more interesting second viewing given the way that it plays with time in a more creative pattern.
Although there are a number of major Hollywood stars featuring here, there is no shortage of belief in the sincerity of their performances. Naomi Watts is astonishingly good as Elizabeth as she expresses her inner feelings of suppression and her distance from the rest of the world, only occasionally releasing herself through her anger or a sexually impulsive act. It is her fleeting nature of moving from city to city which corresponds regularly with her attitude towards her relationships with men. It is a really powerful performance and if this were a film with a higher profile Watts would have a greater chance at being nominated for an Oscar. Samuel L. Jackson plays against type here but it works because he is a charismatic figure, as the head of a law firm would be, and it allows for some development in Elizabeth in that she would contemplate a relationship with someone she is slightly unsure of. The characterisation of Annette Bening's role has also been thoroughly detailed, but she is the most difficult person to access her because of her aggressive attitude, particularly to the daughter of her housekeeper. Yet this is still such a strong performance given that one can still recognise and feel for her emotions of guilt and anger, despite how dislikeable she can be throughout the film. Kerry Washington has perhaps the sweetest narrative arc and her role is a very sincere and emotive one as well. There are a lot of strong performances here and the way that some of the threads develop into tragic accounts give the film its power and an emotional resonance.
Mother and Child offers a wonderful ensemble cast throughout a relatively accomplished film. It is certainly overlong and the connection between the stories may seem slightly contrived to some. However, the strength of the performance here, particularly from Naomi Watts, ensures that the heart of the film is true rather than mawkish, soppy or sentimental. For this, the film is worth seeing and is further suggestive of the growing quality of talented Latin American filmmakers working today.
There must have been great faith in Rodrigo Garcia as a writer and a director because his film Mother and Child, a poignant picture about birth, has been backed by a number of significant Latin American filmmakers. Alfonso Cuarón, Guillermo del Toro and Alejandro González Iñárritu were all executive producers on the film, leaving the abilities of Garcia in rather high regard. The influence of Iñárritu is the most obvious throughout the film because like 21 Grams and Babel the narrative is told through a collection of separate stories that eventually unite, although in a more linear and deliberately cohesive manner. Interestingly, Mother and Child mirrors very similar thematic ideas to The Burning Plain which was written and directed by Iñárritu's former collaborator Guillermo Arriaga. That film also dealt with the guilt felt by a mother in giving away her child and the conflict between different generations. There are certainly some similar ideas explored here, but at length this film also reflects more on the way that some women cannot move forward or backwards to face the mistakes of their past. It should not be mistaken for a misogynistic view of women, just the inner conflict that could be faced by many. For almost two-thirds this is a great film because of its compelling nature to visualise powerful human relationships and fractured spirits, divided by loss and guilt. Yet in its final quarter the film feels entirely overlong and attempts to wrap up its separate threads together a little too neatly. Thus, out of the two films The Burning Plain would perhaps make for a more interesting second viewing given the way that it plays with time in a more creative pattern.
Although there are a number of major Hollywood stars featuring here, there is no shortage of belief in the sincerity of their performances. Naomi Watts is astonishingly good as Elizabeth as she expresses her inner feelings of suppression and her distance from the rest of the world, only occasionally releasing herself through her anger or a sexually impulsive act. It is her fleeting nature of moving from city to city which corresponds regularly with her attitude towards her relationships with men. It is a really powerful performance and if this were a film with a higher profile Watts would have a greater chance at being nominated for an Oscar. Samuel L. Jackson plays against type here but it works because he is a charismatic figure, as the head of a law firm would be, and it allows for some development in Elizabeth in that she would contemplate a relationship with someone she is slightly unsure of. The characterisation of Annette Bening's role has also been thoroughly detailed, but she is the most difficult person to access her because of her aggressive attitude, particularly to the daughter of her housekeeper. Yet this is still such a strong performance given that one can still recognise and feel for her emotions of guilt and anger, despite how dislikeable she can be throughout the film. Kerry Washington has perhaps the sweetest narrative arc and her role is a very sincere and emotive one as well. There are a lot of strong performances here and the way that some of the threads develop into tragic accounts give the film its power and an emotional resonance.
Mother and Child offers a wonderful ensemble cast throughout a relatively accomplished film. It is certainly overlong and the connection between the stories may seem slightly contrived to some. However, the strength of the performance here, particularly from Naomi Watts, ensures that the heart of the film is true rather than mawkish, soppy or sentimental. For this, the film is worth seeing and is further suggestive of the growing quality of talented Latin American filmmakers working today.