Journey to a Mother’s Room (Viaje al cuarto de una madre)


Mother/daughter relationships can be complicated.

(2018) Drama (Loco/Alfa) Lola Dueñas, Anna Castillo, Noemi Hopper, Ana Mena, Susana Abaitua, Marisol Membrillo, Pedro Casablanc, Silvia Casanova, Lucia Muñoz Durán, Adelfa Calvo, Maika Barroso, Beatriz Cotobal. Directed by Celia Rico Clavellino

Letting go is one of the hardest things a parent has to do – but they have to do it in order for their children to become independent, self-sufficient adults. Some find it much harder to do than others.

Estrella (Dueñas) lives in a small Spanish town in a small Spanish apartment with her daughter Leonor (Castillo) who works at the same dry-cleaning plant that she herself once worked in. The two watch telenovelas on the tube, sharing snacks and often falling asleep together on the couch. As for the dad, whether he’s deceased, divorced or deserted, it all amounts to him being absent and unremarked upon; his non-presence makes him no better than a ghost.

But like many young people, Leonor longs for more and after a friend returns from London and speaks glowingly about her experiences there, Leonor determines that she is going to have those experiences for herself. However, telling her mother that is another thing entirely; she’s sure that this will lead to an unpleasant confrontation. Estrella turns out to handle it a lot better than her daughter expects her to although she’s not wild about the idea; still, she realizes that her daughter needs to spread her wings and she can’t do that inside the nest.

Estrella is lonely without Leonor and lives for her daughter’s infrequent calls on What’s App. Still, when the boss of the dry cleaning plant (Casablanc) approaches Estrella with a request to make some dresses, Estrella finds a new lease on life and a purpose that until then had completely revolved around raising her daughter. As for Leonor, London turns out to be a lot different than she had anticipated.

This slice of life film is unusual in that it takes the point of view of the mother; rather than follow the younger woman to the big city, it stays in the small town with the mom and examines what happens with her when the walls close in and there is nothing but the silence to fill it. Fortunately for us, two brilliant Spanish actresses – frequent Almodóvar collaborator Dueñas and promising new face Castillo both deliver compelling and understated performances that smack of authenticity.

Most women are going to recognize the civil friction between the two, either from the mother’s or the daughter’s point of view. Each are clinging to something; the mom to memories of the past, the daughter to a vision of an unattainable future. Both have their delusions in their own way; both are resolute in sticking to them. The one thing that is certain though is that the two love each other and need each other.

My problem with the movie though rests with the pacing which is very slow, as well as the often-meandering story that sometimes chases its own tail. There seems to be a lot of script that could have been judiciously trimmed to make the story a bit more succinct. The ending also comes a bit more abruptly than I would have liked.

Then again, life generally doesn’t move in those cadences; life moves to a beat all its own and it is rare that we are in sync with it. There is a lot to recommend this film (and I do) but I can’t do that unreservedly without telling readers that there is a good chance that they will find the movie difficult. Still, I think an awful lot of mothers and daughters would benefit from giving this one a whirl.

REASONS TO SEE: It’s a very realistic portrayal of a relationship between mother and daughter.
REASONS TO AVOID: Unfortunately, the film is prone to meandering and then ends abruptly
FAMILY VALUES: There is some brief sexuality and mild profanity.
TRIVIAL PURSUIT: While this is Clavellino’s feature film debut, she has directed a short film which won the Gaudi Award for Best Short Film, the equivalent of an Oscar given for films in the Catalan language of Western Spain.
CRITICAL MASS: As of 4/1/19: Rotten Tomatoes: 100% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: Mothers and Daughters
FINAL RATING: 5.5/10
NEXT:
Gloria Bell

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The Dressmaker (2015)


Here is a primer on sexual stereotypes.

Here is a primer on sexual stereotypes.

(2016) Drama (Broad Green/Amazon) Kate Winslet, Liam Hemsworth, Judy Davis, Hugo Weaving, Sarah Snook, Caroline Goodall, Kerry Fox, Rebecca Gibney, Hayley Magnus, James Mackay, Julia Blake, Shane Jacobson, Gyton Grantley, Alison Whyte, Barry Otto, Sacha Horler, Shane Bourne, Mark Leonard Winter, Olivia Sprague, Darcey Wilson, Rory Potter. Directed by Jocelyn Moorhouse

 

There is an old Chinese proverb that revenge is a dish best served cold. Personally, I like my revenge hot in a spicy oyster sauce, but that’s just me. In any case, the point is that vengeance is something best left to ferment awhile.

The tiny rural Australian town of Dungatar is the kind of place where not much ever goes on. It was doubly so in 1951. That is, until Tilly Dunnage (Winslet) stepped off the bus in the dusty streets of the town. She walked over to where the town’s team was playing in a rugby match. Wearing a stylish red dress, her lips slathered in cherry red lipstick, her eyes hidden behind sunglasses and a cigarette dangling from a holder at a rakish angle, she made for a sight that the town had only glimpsed in fashion magazines.

The more so because there were whispers that she had murdered a young boy named Stewart Pettyman (Potter) and while nothing was ever proven, had led to her being exiled from the town in disgrace. Her mother Molly (Davis) went quietly mad and became something of the town codger. Most of the town has turned its back on the both of them, particularly town counselor Evan Pettyman (Bourne), Stewart’s father. However, there’s no doubt that Tilly is a talented dressmaker and when Trudy Pratt (Snook) underwent a radical transformation from Plain Jane to va-va-va-voom thanks to a makeover and a Tilly original creation, soon the ladies of the town were flocking to Tilly to get their own haute couture from the former pariah.

Also lining up to see Tilly is rugby star and neighbor Teddy McSwiney (Hemsworth) who has his eyes on Tilly but must woo Molly first in order to get her blessing. However, Tilly believes she has a cursed cloud over her head and when a new tragedy befalls her, she threatens to fall apart but her mum, realizing there’s only one thing she can do for her daughter before her own time is up, comes up with a plan to get the most delicious revenge for her daughter – and perhaps redemption for herself.

Based on a book by Betty Ham, this Aussie flick was the second highest grosser of 2015 in its native land and the eleventh all-time as of this writing. It’s received little to no fanfare here in the States and in some ways that’s not so bad; it allows you to experience the twists and the turns of the plot without expectation. Unfortunately, it’s bad in that a lot of people haven’t really heard much about this movie and it’s a shame because it’s pretty dang good.

Winslet is one of those actresses who elevates bad movies into good movies and good movies into great movies. She is a force of nature here, dominating the screen almost effortlessly. Davis, one of the most underrated actresses of her generation, holds her own and even Hemsworth, who has always been something of a pretty boy, uses his easygoing charm to his advantage. Weaving, who I’ve always enjoyed as a terrific character actor, shines here as a cross-dressing cop.

The movie lampoons our obsession with fashion as well as small town insularity, both of which have been done elsewhere but here at least are done stylishly. The problem here is that there are too many styles going on; there’s a kind of American western tone (Moorhouse herself calls the film “Clint Eastwood’s Unforgiven with a sewing machine”) as well as a kind of noir mystery (particularly near the end of the film as we find out what really happened to Stewart Pettyman) as well as an Edward Scissorhands­-esque ode to non-conformity, romantic comedy in the developing relationship between Tilly and Teddy and even a little family drama as per the relationship between Tilly and Molly.

I found myself liking the vibe here. I’ve never been what you’d call exactly fashion-conscious so I found that aspect of the film amusing. I also liked the relationships between Tilly and Molly as well as between Tilly and Teddy. The denouement of the film when Tilly takes her revenge is absolutely classic and worth all the extraneous material. You may favor the noir as I did, or the rom-com, or the offbeat stuff or some other aspect but I’m reasonably sure you’ll find something about this film to like. I know I found quite a bit.

REASONS TO GO: The acting here is extremely good, particularly from Winslet and Davis. As dramas go, this one has some pretty funny moments.
REASONS TO STAY: There are way too many undercurrents here.
FAMILY VALUES:  There is some brief violence and a smattering of profanity.
TRIVIAL PURSUIT:  This is the first film Moorhouse has directed in eight years; she has two children with autism and spends most of her time off devoted to them.
CRITICAL MASS: As of 11/1/16: Rotten Tomatoes: 54% positive reviews. Metacritic: 47/100.
COMPARISON SHOPPING: Micmacs
FINAL RATING: 7.5/10
NEXT: Audrie & Daisy