Mother (Film, 1996) – Wikipedia

Mother (au Canada francophone Mom ) is an American film by Albert Brooks released in 1996.

The forty writer John Henderson, author of science fiction novels, is aside as much inspiration as in love. His two successive divorces make him think that they are an impact of his mediocre relations with his mother Béatrice. John decides an “experience” which consists in abandoning for a time his apartment in Los Angeles to return to live with his mother who lives in Sausalito ^{[ first ]} In order to discover the cause of their misunderstanding. At the disapproval of Béatrice who remains doubtful on the goal of “experience”, John reinvests his child’s room by redeveloping her as in the time he was a high school student. After various minor residents on their consumer habits, first May John had on his mother fade when he learns that she has a discreet “monthly and strictly sexual” relationship ( sic ) With Charles, a man his age. He also notes that Béatrice surpasses it by her dexterity when she hits the computer keyboard as on her typewriter of yesteryear. The family psychoanalytic session ends when John finds piled up in boxes of dactylographed manuscripts, novels and news of an elegant style, secret works of youth of Béatrice. Darkened, mother and son understand that their disputes come from the fact that Béatrice, by repressing her dispositions for writing to be only a housewife as her husband wanted, unconsciously postponed her dissatisfaction with “failed novelist” on John who succeeded, and that she transferred her affection to her conformist and reached younger son, a sports agent who was not likely to be a literary rival. The success of “experience” gives inspiration to John who returns to Los Angeles while Béatrice begins to write with the computer.

• Original title : Mother
• Quebec title: Mom
• Realization: Albert Brooks
• Scénario : Albert Brooks, Monica Mcgowan Johnson
• Photography: Louis Koltai, Wilmer Butler
• Cadrage : Daniel C. Gold, Pernell Tyus
• Son : Dane A. Davis, Beth Sterner, Todd Toon
• Montage : Harvey Rosenstock
• Artistic direction: Charles Butcher
• Sets: Charles Rosen, Anne D. McCulley
• Costumes : Judy Ruskin Howell, Lucinda Campbell
• Music: Marc Shaiman
• Production : Herb Nanas, Scott Rudin
• Production companies: Paramount Pictures (United States), Scott Rudin Productions (United States)
• Distribution companies: Paramount Pictures (United States, France), United International Pictures (France)
• Country of origin: United States
• Original language: English
• Format: 35 mm – Color (Deluxe) – 1.85: 1 (Panavision) – Monophonic Dolby Sr
• Genre: Comedy
• Duration: 104 minutes
• Exit dates:
• (fr) CNC classification: all audiences (operating visa n ^O 92085 issued on June 2, 1997 )

Music [ modifier | Modifier and code ]

• Mrs Robinson , interpreted by Steve Lively and Jess Harnell; The original lyrics are diverted by Monica McGowan Johnson and Albert Brooks on the music of Paul Simon: “Mrs Robinson” is notably replaced by “Mama Henderson”.
• Across The Line , by Robert Cray, Richard Cousins, Peter Boe, David Olson, D. Amy, Joe Louis Walker and Henry Oden, interpreted by The Robert Cray Band
• Keep On Movin’  (in) , Jazzie B lyrics and music, interpreted by Soul II Soul
• In My Room , words by Brian Wilson and Gary Usher, performed by The Beach Boys
• Land of a Thousand Dances , words and music of Chris Kenner (in) , interpreted by Wilson Pickett
• Humoresque , music by Antonín Dvořák, interpreted by Fantastic Strings
• Fascination , music by Fermo Dante Marchetti (in) , interpreted by Fantastic Strings
• Downtown , Music of Tony Hatch (in) , interpreted by Eric Miller and his orchestra
• I Left My Heart in San Francisco , music by George Cory and Douglass Cross
• Call Me Irresponsible , lyrics sammy cahn and music by Jimmy van Heusen

Filming [ modifier | Modifier and code ]

AllMovie ^{[ 4 ] , [ 5 ]} : “What could be better than a Freudian analysis to solve with his mother the problems of self -hatred, romantic dysfunction and haunt of the blank page?” The frustration of an impassive Albert Brooks works wonderfully in the face of Debbie Reynolds’ deceptive sympathy, an aggressive, frugal mi passive-M-MI woman with her money (her block of frozen gruyère cheese for years). […] Reynolds evolves skillfully between his emotional maternal emotional demonstrations and his apparent indifference hiding his resentment towards his son. The film is essentially a series of scenes detailing their complex and hilarious relationships – the mother gently rumbles her son with ambiguous compliments, the son openly challenges the particular habits of her mother. The study of character progresses until mother and son finally manage to communicate as writers. »»

Awards [ modifier | Modifier and code ]

Nominations [ modifier | Modifier and code ]

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