MOTHER MARY – Spectacular Visuals and Stellar Performances in a Somewhat Confusing Narrative
Hey friends. Barbarella here. MOTHER MARY, starring Anne Hathaway and Michaela Coel, hits theaters today. When iconic pop star Mother Mary (Anne Hathaway) injures herself during a performance, she begins to feel haunted, or more accurately tormented, by something. Believing the only way to escape the torment is to acquire the perfect dress for her show, she returns to her old haunting grounds to seek out former friend and costume designer Sam (Michaela Coel) to provide it. However, she and Sam had a falling out years ago, and the request requires much more than simply giving her the specs.
Utilizing a framework of lost friendship, resentment, ambition, and struggle, the film provides a juicy script into which its actors could really dig their teeth. And the performances are exquisite. In some of Anne Hathaway’s best work, she truly embodies a diva struggling deeply underneath the facade of success. Michaela Coel both devours words and spits them out like a woman scorned. The intensity of emotion as the women express grievances and regrets is only matched by the vibrancy of the reds populating the scenes like a narcissist. It’s not just the use of that color, which symbolizes blood, damage, conflict, womanhood, passion, and rage, but also the cinematography that proves rich and enticing.
From the spectacular concert scenes, reminiscent of a Taylor Swift or Lady Gaga show, to the quieter, less monumental scenes, the cinematography captivates. It’s worth seeing it in theaters for the visual elements alone. David Lowery’s film offers elaborate