Mother and Son

The prior commentator went a little overboard. The film is surely not the greatest of all time. It is, perhaps, the greatest LOVE FILM of all time. The beauty of the landscape (note that this is Russia in deep summer -- deep winter would have produced a much different effect - but then the mother is dying, and the contrast between her physical state and the lushness of the fields and forests is necessary to keep one from being overwhelmed by sorrow ) is itself commentary on the beauty between these two. No pretty girl, no surging music, no reasons even for the love. It is just there. Titanic. Not tied to sex or gratitude. JUST EMOTION. The dialog is spare. There is no third person. Though everything moves very sluggishly, this fits perfectly. This is not a movie. It is a poem. Extremely fine too as an essay on what the core of love looks like.

After opening with a distorted tableau, Sokurov moves slowly into images of stones, grass; he's a naturalist who's addicted to nature; a humanist who's dedicated to the intimate. (The mother and son in his film are not characters or types or ciphers or "performances.") The camera movements are so beautifully slow that they're hard to describe -- imagine the precision of "Ordet" had it been made in color, those images still and hazy, like pastoral paintings with glowing hues of light. They're some of the purest images I've ever seen, comparable to "Barry Lyndon" and "McCabe & Mrs. Miller." What is so startling is that the color makes the film seem modern -- and such a hazy yet lucid color, Maddin-like in its Expressionism and schemes: fable-like and emotionally incestuous. It exists outside time, its only indicator a train within the film; existential emptiness represented visually. The film passes by quickly, with the perpetual wind that sounds like the ocean. It's as if the film is a progression of the most beautiful visions imaginable, the various images of death.

It is something different -- art should be unique, if we're talking about art in the vein of Picasso, Shakespeare, and Bach, shouldn't it be an experience like no other? In fact, this could easily be compared to Tarkovsky, the most obvious comparison. But for me it feels more like Dreyer without the self-conscious dialogue. It couldn't be said to be complex -- it's two characters talking rather simply. But what it lacks in complexity it makes up for in singularity. (The images are at times so rich that it's almost comical -- is this a film set or not?) It's the kind of film that's easy to make fun of, intruding on the most personal moments of this pathetic-looking mother and her son who constantly speaks in a hushed tone -- you imagine one of those "Seinfeld" Village Voice parodies. It isn't emotional or intellectual; I don't even know if it's profound. But it's a masterpiece, plain and simple. 10/10

I had completely forgotten about the film until I was chatting to a friend today and an image suddenly formed, unbidden in my mind, and I could perfectly see that wonderful scene where the son supports his mother and her skin seems almost translucent, and all that can be heard on the soundtrack is her laboured breathing, and those wonderful painterly scenes of verdant meadows. I doubt I will have a cinematic experience like watching this film again. Rushing home from work, I went out to meet a friend and see it. Sat in a beautiful cinema that smelled of red velvet, we got to see this film, where just for a second time stops and slows. All that matters is sensation, and beauty, and plot or character just fades away... the most wonderful film, so different and so fragile.

This film is about the relationship between a sick mother and her son. (surprise.) Surely, this isn't for the average viewer: narrative is slow, events nonexistent; the film consists mostly of painting-like "still-lives" with very little dialogue. The mother and son walk along the beautiful sceneries (the film is done on the island of Rügen, by the coast of Germany), approach each other, take contact by embracing and hugging.

Nick Cave, the rock singer, said somewhere that this film is the most beautiful he has ever seen. I agree that it is maybe Sokurov's best: the twisted images of the landscapes, great camera work and almost meditative feeling are something I love to see in the cinema - if nothing else, just as an attempt this is a great film, instead of all the run-of-the-mill "narratives" we come across.

Beautiful. Word.

In just over an hour, Sokurov achieves in ‘Mother and Son' a wholly satisfying balance between the aesthetic, emotional, and spiritual elements that inform this simple but extremely profound film. In many ways the film is reminiscent of Andrei Tarkovsky, but where Tarkovsky was more specifically Christian in his metaphysical leanings, Sokurov suggests a kind of "humanist mysticism", an elegiac hymn to the natural rhythms of life and death, and the fragile poignancy of human love. As a celebration of life in the face of death, ‘Mother and Son' portrays the journey we must all eventually face with a simple naturalistic acceptance, and is perhaps the closest thing one might find in cinema to what I can only describe as a sort of "non-religious sacredness".

Sokurov's approach here is very ‘pared-down'. While the dialogue is kept to an absolute minimum, the soundtrack is extremely expressive and is an essential element of the work - the wind, the sea, the "music" of the earth, provide a brilliant counterpoint and commentary to what is seen. The look of the film is remarkable, inspired by the paintings of Caspar David Friedrich, but while the images are indeed beautiful, they are never merely "picturesque". From beginning to end, Mother and Son is a work of genius.