DARREN ARONOFSKY DOESN'T THINK MUCH OF "HIM" … OR HIS PEOPLE.

[But that's just fine with me]

And so one [of a number] of the available interviews about his latest movie  proceeds as follows...

You've worked 'Biblical myth' into a number of your movies, but also Biblical mysticism. Pi dealt with the Kabbalah. Noah found room for both Methuselah and rock monsters. Did you look outside to auxiliary text for Mother ?

Aronofsky: This one's really just playing with stuff that's in the Old Testament and the New Testament. It covers both and so the film actually unfolds 'in an order' in much the same way that similar stories occur in The Bible.

Are there direct connections everywhere? My mind jumped to the Great Flood in a scene where Javier Bardem stands in the doorway as it begins to pour rain.

Aronofsky: I promise you, it all lines up [with The Bible]. That was the breakthrough, the road map I had to get through this.

The allegory in Mother! feels worldly -- you're not just unpacking American Christianity or a certain sect. You've been all over the globe over the years, so did your travels inform the movie?

Aronofsky: I would imagine, I think. Since I was very young, like a teenager, oh actually even before that, my parents used to pack me and my sister up in a car every summer and drive across the United States. I definitely had the bug when I  graduated high school early and backpacked around the world for six months. I definitely have had that in my gut to explore as much of this beautiful planet as I can.

Apparently Anthony Bourdain is a big fan of Mother!, making we wonder if you two are close after you joined him for Parts Unknown's Madagascar episode. Did the trip make an impact?

Aronofsky: I had an amazing experience! Madagascar's a very, very impoverished place. Their biggest currency is a four dollar bill. It's just hard to kind of grasp the poverty there. That's an intense thing to be around and to witness face-to-face and see people struggling like that. It's an incredibly, incredible beautiful place and it was an amazing place.

Leading up to the shoot, you spent three months rehearsing with Jennifer, Javier, and the rest of the main players in a Brooklyn warehouse. Your notes on the film make it sound like a technical rehearsal -- figuring out how to pull off long shots in the confines of the house -- but did you discover anything with Jennifer along the way?

Aronofsky: To be truthful, in that five-day writing process, there was a lot of symbolism. The ideas of the movie, the structure was there, the set pieces were there. I wanted to make these characters real. I think that's what Jennifer Lawrence and Javier Bardem did. They were able to translate these big allusions and metaphor into human characters.

Knowing a bit about your life, your relationships, some turbulence over the years, I imagine you applied personal experience to the micro conflict. Are there specific moments that feel self-incriminating.

Aronofsky: Whenever I make a character I tell a story. I'm always finding something that's truthful and part of me. I wasn't the ballerina yet I made a movie about the ballerina. I wasn't a wrestler, but I was able to relate to Randy the Ram [in The Wrestler]. I wasn't a conquistador [like the main character of The Fountain] and I'm definitely not a math wiz [like Max in Pi]. I think that's your job as a filmmaker is to relate to these characters and figure out what makes them human and how am I going to turn them into something that the whole world can understand. Sure I've had experiences that are connected to this, but it's not... I just try to find the humanity of all of it, if that makes sense.

Was there awareness, and possibly intention, about making a movie where a male artist pushes a woman to her breaking point that required you to push Jennifer to physical extremes?

Aronofsky: Look, actors want to act. If you go to an acting class somewhere on Broadway you're going to see actors not choosing scenes from a TV show sitcom. They're going to be doing scenes from Tennessee Williams. That's because they want to -- that's what they love to do. I'm always looking for actors that remember that and don't want to just show up. There's a place for that where you just show up and you do your job, and you do your little thing and that's it. The fun thing about some of these movies is to push actors all the way to the edge and see what happens.

At the end, Javier's character completes a poem, which we don't actually hear, but instead see as 'silent images'. Did you have an actual poem?

Aronofsky: Those are the unknowable words. You can't ever really know it. It had to be something that was very, very expressive in that way. It didn't go beyond that. There was no way of sharing it with an audience. Saying that this type of work that could, it inspired. That's just the impossible.

OK. Lastly, one blunt "what does it mean" question: what's the yellow dust all about?!?

Aronofsky: That's the one thing that I have not shared with anyone. But if you see it a couple more times you'll get a vibe for it.

MY NOTE: AND WE KNOW WHAT THE CRYSTAL [i.e., in the movie, Mother] STANDS FOR !

That damned apple!!

Darren Aronofsky is an American filmmaker. He has received acclaim, and also generated controversy, for his often surreal, disturbing films.  

'Mother' certainly fits the bill.

APROPOS 9-4-2017...

Of course, I think the song fits!

AND WHY WOULDN'T I ?

https://www.youtube.com/watch?v=yIJFV54kAls

But in the end it all comes down to this,

"the heart has no wrinkles"...

The gal on the right has the next upcoming birthday; we all agree this female Virgo has discovered the fountain of youth [may I have a few drops?]

Happy upcoming birthday, Sue!!!

PREPARING FOR LIFE [REALLY?]

WHY NO ONE LIKES TO DWELL

ON "DEAD GERANIUMS": 

i.e.,  HIS POETRY KIND OF SPEAKS FOR ITSELF...

Rhapsody on a Windy Night

BY T. S. ELIOT

Twelve o'clock. 

Along the reaches of the street 

Held in a lunar synthesis, 

Whispering lunar incantations 

Dissolve the floors of memory 

And all its clear relations, 

Its divisions and precisions, 

Every street lamp that I pass 

Beats like a fatalistic drum, 

And through the spaces of the dark 

Midnight shakes the memory 

As a madman shakes a dead geranium. 

Half-past one, 

The street lamp sputtered, 

The street lamp muttered, 

The street lamp said, "Regard that woman 

Who hesitates towards you in the light of the door 

Which opens on her like a grin. 

You see the border of her dress 

Is torn and stained with sand, 

And you see the corner of her eye 

Twists like a crooked pin." 

The memory throws up high and dry 

A crowd of twisted things; 

A twisted branch upon the beach 

Eaten smooth, and polished 

As if the world gave up 

The secret of its skeleton, 

Stiff and white. 

A broken spring in a factory yard,

Rust that clings to the form that the

strength has left ;

Hard and curled and ready to snap.

Half-past two, 

The street lamp said, 

"Remark the cat which flattens itself in the gutter, 

Slips out its tongue 

And devours a morsel of rancid butter." 

So the hand of a child, automatic, 

Slipped out and pocketed a toy that was running along the quay. 

I could see nothing behind that child's eye. 

I have seen eyes in the street 

Trying to peer through lighted shutters, 

And a crab one afternoon in a pool, 

An old crab with barnacles on his back, 

Gripped the end of a stick which I held him. 

Half-past three, 

The lamp sputtered, 

The lamp muttered in the dark. 

The lamp hummed: 

"Regard the moon, 

La lune ne garde aucune rancune, 

She winks a feeble eye, 

She smiles into corners. 

She smoothes the hair of the grass. 

The moon has lost her memory. 

A washed-out smallpox cracks her face, 

Her hand twists a paper rose, 

That smells of dust and old Cologne, 

She is alone ...

With all the old nocturnal smells 

That cross and cross across her brain." 

The reminiscence comes 

Of sunless, dry geraniums 

And dust in crevices, 

Smells of chestnuts in the streets, 

And female smells in shuttered rooms, 

And cigarettes in corridors 

And cocktail smells in bars." 

The lamp said, 

"Four o'clock, 

Here is the number on the door. 

Memory! 

You have the key, 

The little lamp spreads a ring on the stair, 

Mount. 

The bed is open; the tooth-brush hangs on the wall, 

Put your shoes at the door, sleep:

Prepare for life." 

The [very] last twist of the knife. 

https://www.youtube.com/watch?v=4-L6rEm0rnY

Happy Birthday to 2 radiologists I worked with in the past: Dr. C.S. Moss  and Dr. B. Fedeson