Greetings again from the darkness. J. D. Salinger once wrote, "Mothers are all slightly insane." Rachel Yoder's critically acclaimed 2021 novel has been adapted for the big screen by writer-director Marielle Heller, and it seems to confirm the Salinger theory. Ms. Heller has previously directed A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019), CAN YOU EVER FORGIVE ME? (2018), THE DIARY OF A TEENAGE GIRL (2015). She excels in projects that focus on human nature.
Amy Adams jumps into the role with both feet (or is it four paws?). Having been previously nominated for six Oscars, her seventh would certainly not be surprising. She plays a renowned artist-turned-stay-at-home mom, and proceeds to convey the frustrations and anxiety that accompany such self-sacrifice. We watch as her feelings result in an unusual transition that finds her with a heightened sense of smell, an innate dislike of cats, and an inordinate ability to attract and run with the neighborhood canines. There are even some physical attributes that occur, further blurring the line between fantasy and reality. At times, it's a bit surreal.
We are clued-in to her inner-dialogue early on when she meets a professional acquaintance at the grocery store. With her son (played by twins Arleigh and Emmett Snowden) in the buggy seat, we hear both what this mother is thinking and then what she actually says out loud. It's a terrific shortcut for viewers. When she finally lashes out at her husband (Scoot McNairy), he reacts in the typically clueless, though well-meaning manner we've come to expect from dads in this situation.
The movie has a relatively short runtime (barely 90 minutes), and we gain insight into her frustrations through mom-groups (Zoe Chau, Mary Holland, Archana Rajan), exchanges with the librarian (Jessica Harper), flashbacks to her childhood, and of course, the 'real' moments with her husband. The inner-dialogue moments could have been used even more frequently, and the canine moments are effective despite not really pushing the envelope as far as we'd have liked.
Losing one's self is perhaps the biggest threat from motherhood, and we aren't certain whether to classify the ending as redemption or reclamation. Either way, the motherhood path is absurdly challenging physically, mentally, and emotionally. Loving one's child and spouse is not enough to maintain a sense of sanity and self, and the film picks up on all of this from a personal perspective, while also giving a glimpse at how the outside world (former colleagues) simply can't understand.
Opening in theaters on December 6, 2024.
