The Mother (2003)
Directed by Roger Michell
A grandmother has a passionate affair with a man half her age, who is also sleeping with her daughter.
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What critics compared The Mother to
The film could also spawn other movies in the same world, as Zeller has also written for the stage The Mother and The Son , which are related to The Father thematically.
Like the other Zeller plays I have seen, The Mother and Height of the Storm , “The Father” was written as a tour de force usually focusing on one person.
One provocation is particularly amusing, when Jack supports fellow patient Rudy Mackenzie's (Daniel Craig, "The Mother") ramblings about the Organization for the Organized in group therapy, beginning a mini riot.
Già alla vigilia c’era molta curiosità rispetto a questo ritorno del regista di The Mother , sempre interessante da vedere come cineasta ma da qualche pellicola molto sbilanciato nella sua produzione e incapace di portare a compimento un film del tutto convincente.
This goes for her work in this, Assassination Nation, and a stage play she was in called The Mother.
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Le Week-End may seem a light divertissement compared to The Mother (03, about an elderly woman rediscovering sex with a youngish stud—played by Daniel Craig!) and Venus (06, in which an old man, Peter O'Toole, is fixated on a teenager).
Director Roger Michell (“Notting Hill,” “Hyde Park on Hudson”) has a lovely touch with character-driven pieces, and this is his fourth collaboration with screenwriter Hanif Kureishi, who also wrote “Venus,” “The Mother” and “The Buddha of Suburbia.”
Having previously collaborated on The Mother and Venus (the former something of an overlooked gem), writer Hanif Kureishi and director Roger Michell reunite for this tale of a long-married couple attempting to get away from it all in Paris, but instead finding the broiling tensions in their relationship coming to an unexpected head.
Director Roger Michell and writer Hanif Kureishi’s fourth collaboration, “Le Week-end” continues their exploration of the desires of the olds following “The Mother” and “Venus.”
Written by the English playwright and novelist Hanif Kureishi (“My Son the Fanatic”) and directed by Roger Michell (the two previously collaborated on “The Mother” and “Venus”), “Le Week-End” is a brutal portrait of marriage and a love song to the City of Light.
These unhappy one-liners come courtesy of novelist Hanif Kureishi, reuniting with the director, Roger Michell, who tackled two very different Kureishi scripts: “The Mother” and “Venus.”
This is inherent in McKenna's script, but it's pulled out quite a bit by Roger Michell's direction; at his best (I am chiefly thinking of the unfairly forgotten The Mother ), Michell's films are entirely free of nonsense and sentiment, even brusque; and he brings that sensibility to bear in Morning Glory by refusing to play up the soft, playful edges of the movie, working with cinematographer Alwin Kuchler to create a look that is bright and slightly harsh, capturing the sets in all their cruddy glory (the Daybreak offices are a marvel of design, by Mark Friedberg: lived-in and worn-out and falling apart, a resolutely unromantic view of the newsroom if ever I've seen one).
The attack of the warm and fuzzies in “Morning Glory” is a bit of a surprise coming from director Roger Michell, who in the smart “Changing Lanes” and excellent “The Mother” previously showed an ease with prickly moral questions.
Roger Michell and Hanif Kureishi teamed up three years ago on The Mother , another interesting look at age gaps and attractions.
His previous film, The Mother (2004), also dealt with a May-December romance, but twisted the other way around.