Woody Allen’s film Alice (1990) is a kind of heroine’s journey. In it, Alice (Mia Farrow), married to a wealthy attorney, goes to a Chinese herbalist, Dr. Yang, for help with a bad back. More than just curing the symptom, the doctor, through his various elixirs, helps Alice to explore hidden parts of her psyche. In this piece, I focus on Alice’s idealization of her mother.
I’ve been laughing myself silly all week, listening to the soundtrack (and watching YouTube videos) of the Tony Award-winning musical, The Book of Mormon. Its book, music and lyrics were written by Trey Parker and Matt Stone (of South Park fame) in collaboration with Robert Lopez, co-author and director of another successful Broadway musical, Avenue Q.
While the melodies may be a bit generic, they’re catchy and memorable; it’s the lyrics that truly stand out, however. Profane and irreverent, they shed light on some of the more absurd aspects of Mormon theology. They also expose the type of guidance offered by the Church of the Latter Day Saints to members struggling with cognitive dissonance, as well as feelings they find unacceptable.
Further exploring various dynamics of the mother and daughter relationship, we’ll have a look at a scene from Postcards from the Edge (1990). This film is based on the semi-autobiographical novel by Carrie Fisher (daughter of actress Debbie Reynolds). Suzanne Vale (Meryl Streep) plays the addiction-prone actress daughter of movie star Doris Mann (Shirley Maclaine). Doris is portrayed as overbearing, controlling, manipulative, competitive and self-absorbed; Suzanne is very much in her shadow.
I’d heard so much negative buzz about The Beaver (starring Mel Gibson and directed by Jodie Foster) that I stayed away from my local movie theater despite the film’s interesting psychological subject matter. This past week, I finally saw it on DVD and was surprised to find myself appreciating it much more than I’d expected.
While there’s some truth to the criticism I’ve heard, The Beaver tackles a difficult subject — suicidal depression — with psychological insight and emotional honesty. It scorns the simplistic answers offered by pop psychology and rejects the widely propagated medical lie that depression results from a chemical imbalance in the brain. The film doesn’t really try to explain depression (although it offers some interesting hints as to its origins), or offer a solution that leads to the happy ending. Instead, it explores a peculiar form of splitting, a desperate attempt to “cure” depression when all else fails.
In this next series of posts, I’m going to take scenes from a number of films to explore various aspects of mother-daughter relationships. It can be helpful to take stock of how we were mothered, how we’ve complied with and/or rebelled against the woman who raised us (or was supposed to and didn’t). Also it is useful to identify the beliefs and messages that get handed down to us, often coming down through generations. Not only can these realizations help point the way to our own individuation (becoming fully ourselves), it can also help us to not pass on our “family legacies” unconsciously.
Rebecca Miller’s “The Ballad of Jack and Rose” (2005) presents an intimate look at how father-daughter relationships can cross the line into covert or emotional incest. Rose (Camilla Belle) is the 16-year old daughter of terminally ill Jack (Daniel Day-Lewis). They have been living in isolation, just the two of them, on a small island, the site of a failed commune; Rose’s mother had long since left. From the start, we get the feeling of a complicit, intimate, and closed system between father and daughter. Not only has Rose taken the role of “wife” in the household, but having home-schooled her, Jack has shut her off from developing relationships with others.
A look at mid-19th century views on mental illness as portrayed in the recent film adaptation of ‘Jane Eyre,’ starring Mia Wasikowska and Michael Fassbender.