Mother Mary Review: Anne Hathaway and Michaela Coel Are Lost in a Ludicrous Pop Star Drama
For certain pop fans, diva worship often involves embracing a unique brand of psychobabble. In David Lowery's Mother Mary, Anne Hathaway, portraying the titular singer, declares her new single Spooky Action is about Einstein's "transubstantiation of feelings." While some in the theater might snort, it recalls moments when stars like Lady Gaga leaned into high-concept nonsense. However, my initial generosity faded as I realized the film and its protagonist lack a crucial element for any modern pop icon: self-awareness.
A Haunting Comeback and Fashion Emergency
Mother Mary follows a once A-list musician seeking a comeback after a mysterious hiatus. Hathaway's character appears haunted and faces a fashion crisis, unable to find an outfit for her imminent return. Three days before her big performance, she arrives at the gothic mansion of fashion designer Sam Anselm, played by Michaela Coel, begging for a costume that "feels like me." Sam, who has moved on from their past partnership and possible romance, loathes the pop star, calling her a "carcinogen" and a "tumor" in an ominous voiceover.
Stylish Yet Preposterous Narrative
Despite her disdain, Sam feels a supernatural pull and accepts the challenge. In a dilapidated barn, she crafts a look from chiffon, with Mary's only stipulation being to avoid red due to a haunting demon. This sets the stage for two hours of preposterous yet stylish drama, featuring big acting, wind-howling barn scenes, extravagant flashbacks to arena shows, body horror, and stunning visuals blending Dalí-esque surrealism with modern pop gloss.
Performances and Production Values
Hathaway, who won an Academy Award for Les Misérables, is convincing in flashback performances, such as a serpentine routine to FKA twigs' My Mouth Is Lonely For You. The soundtrack includes contributions from Charli xcx and Jack Antonoff. Much of the film's reported $100 million budget seems allocated to creating arena spectacles, surpassing recent films like Trap and Smile 2 in pop showmanship.
Coel delivers a subtler, standout performance as the glacial Sam, providing humor and depth to Lowery's dour screenplay. In contrast, Hathaway plays Mother Mary with earnest intensity, akin to Hedda Gabler, though the script's clangers offer little support. For instance, when Sam asks if Mary wants to "look like a knife," she replies, "I want to have a point."
Underused Supporting Cast and Missed Opportunities
The film shifts relief to supporting roles, with FKA twigs in a quasi-erotic tango and Sian Clifford as Mary's harried manager. However, actors like Hunter Schafer and Kaia Gerber are underused. Mother Mary also sidesteps deeper issues, such as its central queer relationship, which feels prudish in today's sapphic pop era, and Sam's background, described as working-class but speaking in regal RP accent.
Dazzling Yet Derivative Elements
Lowery's film dazzles visually but often feels derivative. A backstage shot references The Cook, the Thief, His Wife & Her Lover, while a scene fading faces nods to Ingmar Bergman's Persona. As one viewer noted, it has the makings of a "gay guy movie" with glamorous actors and a ghost of shimmering fabric, but lacks the knowingness to become a cult classic.
Mother Mary is out in US cinemas from 17 April, in the UK on 24 April, and in Australia on 14 May.
