Tag: Madeo

Mother (2009)

This is a guest post from Tatiana Christian.

This review contains some spoilers. 

For the past few years, I’ve been slowly immersing myself in international cinema; specifically France, Korea and Japan. So when Bitch Flicks did a call for reviews on films about mothers, I immediately thought of MOTHER (also known as Madeo), a Korean film made in 2009, directed by Bong Joon-ho. Bong Joon-ho is also the mastermind behind another Korean classic, The Host. So naturally, I HAD to watch it, and writing a review for Bitch Flicks offered me the perfect opportunity! 

Categorized as a drama, MOTHER centers about a mother, (who is played by Kim Hye-ja) who lives with her 27-year-old son, Do-joon (played by the luscious Won Bin) in the countryside. The film chronicles Hye-ja’s search, after her mentally challenged son is convicted of murdering a local girl, as she attempts to find the real killer. 

As expected by the title, MOTHER focuses extensively on Hye-ja’s journey — in the opening of the film, we see her wander out into a field and start dancing. In the next scene, we watch as she’s chopping medicinal herbs, observing her son across the street as he plays with a dog. Her gaze never shifts from him, even as we’re being led to believe that she’s going to cut herself if she doesn’t pay attention. 

When Do-joon is hit by a speeding Benz, his mother rushes out to see if he’s okay – even though he’s alright and doesn’t appear to have any bruises or scratches. Even when she’s having her cut treated, she’s obsessive about finding her son, and making sure that he’s okay. And this type of concern is portrayed through the film; such as in the scene where he’s peeing outside and she holds the bowl for him to drink his medicine. This particular scene struck me as rather intimate, as she stares down at his penis for a moment or two before encouraging him. 

I found this relevant because in a later scene when Do-joon comes home intoxicated, he crawls into bed with his mother (presumably the only bed in their small apartment), and immediately rests his hand on her breast. She murmurs that it’s “too late” and eventually he withdraws his hand. MOTHER never delves much deeper into the potentiality of incest, and aside from another character teasing Do-joon by suggesting that they’re having sex – that’s it. 

However, I can’t really suggest that their relationship is necessarily codependent, as Do-joon demonstrates his independence several times (such as telling his mother to go to sleep when she calls because he’s out late at the bar or confronting her when he remembers that she attempted to kill him as a child). Hye-ja is shown caring and worrying more about Do-joon than he does for her, and he seems not all concerned with the fact that he has confessed to a crime he didn’t commit. 

MOTHER is driven more by Hye-ja’s desire to save her child, to protect him based on the belief that he is innocent. (Portrayed as a mentally challenged character, there’s an air of innocence — or general ignorance — to him. For example, when he’s taken to the crime scene and there is a crowd of spectators, he looks out to someone he knows, takes off his mask and begins to wave while smiling — seemingly oblivious to the severity of what‘s happening.)

So Hye-ja takes on the burden of caring; trying to locate a lawyer who will take on Do-joon’s case, trying to convince a police officer who is a family friend to investigate further, sneaking into Jin-tae’s (played by Ku Jin) cabin to search for clues, approaching the friend of the girl Je-Moon (played by Je-mun Yun) who has died, and so on. It’s all rather impressive actually, watching Hye-ja commit to discovering the real story behind the murder, and enlisting the help of Jin-tae (who proves invaluable in her quest) and having no qualms about getting involved, lying or impersonating someone. 

Without giving away too much of the ending, she discovers who the real killer is and commits yet another crime in response to the truth she learns. At the end of the film, we see her taking a type of bus retreat with other mothers, and she’s the only person sitting as the others dance in the aisle. In her lap is her acupuncture kit, and she inserts a needle into her upper thigh in an effort to open her heart and let her emotions flow. Soon after she begins to dance with the other mothers, perhaps finally free. But this time, her dancing is more expressive, versus when we see her in the beginning of the film. 

According to Horrornews.net: “She is absolutely riveting and roles like this, especially for women, are almost never found in American cinema.”

This quote ultimately summarizes my experience with MOTHER – a film about a mother willing to do whatever it takes to save her child. In many American films, mothers are often portrayed as deranged (such as the biopic Mommy Dearest) or some kind of superhero (based entirely on tropes) mom who does everything for everyone else but nothing for herself (such as I Don’t Know How She Does It, starring Sarah Jessica Parker). 

In MOTHER, Hye-ja is a full-fledged character with both flaws and strengths; she’s unafraid, determined and single-minded in her purpose. In the film, we see her attend the wake of the murdered girl to insist that her son is innocent. Expectedly, the family violently confronts her, dragging her off the premises, while cursing both her and her son. In the very next scene, we see the mother has wandered into a nearby graveyard, looking into her compact and applying lipstick so that she can meet up with the lawyer who will help her son’s case.

MOTHER isn’t about the ideal or perfect depiction of a mother and her relationship with her children; MOTHER is about one individual in her search to save her son.