“You and me are one ”
The ‘Mother’Mother (마더) 2009
‘Mother’ (마더) is Bong Joon-ho’s fourth feature film, released in 2009. It represents a significant departure from his earlier works, lacking the usual satire and comedic moments featuring primarily just in the first act. Following the success of Bong’s previous film, “The Host,” “Mother” premiered at the Cannes Film Festival. The film received widespread acclaim, earning numerous awards for Bong, his cinematographer Hong Kyung-pyo, and the cast, particularly Kim Hye-ja in the lead role, both internationally and domestically.
Kim Hye-ja portrays an unnamed widowed mother who lives with her son, Yoon Do-joon (played by Won Bin). Do-joon is a gentle young man with an intellectual disability, which leads others to label him as a ‘retard’. This taunting often triggers violent outbursts, as his mother has taught him to “kick their arse” if they are rude to him. His best friend is Jin-tae (Jin Goo), a local troublemaker his mother considers a bad influence.
When Do-joon is nearly run over by a car, Jin-tae drives them both to the golf course in search of the BMW involved. In retaliation, Jin-tae kicks off the car’s wing mirror before the pair scuffles with the car’s driver and passengers. Later, at the police station, Jin-tae allows Do-joon to take the blame for the broken mirror, as Do-joon cannot remember what happened when he tried to kick it. Consequently, the cost of the repair falls on the ‘Mother’.
Do-joon later goes to Bar Marmalade, where he becomes intoxicated while waiting for Jin-tae. Meanwhile, Jin-tae secretly retrieves an expensive golf club that he had previously thrown into a lake at the golf course. When Mina, the bar owner’s daughter and Jin-tae’s secret girlfriend, returns home, Do-joon attempts to flirt with her before being shown the door.
As Do-joon makes his way home, he notices a schoolgirl named Moon Ah-jung walking ahead. In his drunken stupor, he attempts to engage her in conversation. However, she quickly turns into a dark alley to avoid his advances. In an outburst of fear and anger, she throws a rock from the shadows, which lands right at Do-joon’s feet.
The scene shifts to Do-joon lying in bed with his mother, where he is seen holding her breasts, highlighting the unusual sexual undertones in their relationship, which had been hinted at earlier. The next day, Ah-jung’s body is discovered on the roof of the building, at the very spot where she had last been with Do-joon. A golf ball bearing Do-joon’s name, which he had previously been shown with at the police station, is found at the crime scene. As a result, Do-joon is arrested and charged with Ah-jung’s murder.
Do-joon is questioned alone by the police and is coerced into signing a false confession as the detectives exploit his disability. His mother cannot accept that Do-joon is the murderer, despite the detectives’ insistence that the case is closed. Determined to find the real killer, she embarks on her own investigation.
Unlike Bong Joon-ho’s other films, “Mother” has a dark tone and offers little comedic relief. The first act establishes the complex relationship between Do-joon and his mother, which Bong likened to that of Norman Bates and his mother in “Psycho.” It also introduces the mother’s illegal acupuncture business, which she operates without a license. Bong also highlights Do-joon’s character traits, including his forgetfulness, susceptibility to manipulation, and tendency to erupt in violence when mocked.
Bong uses repetition of scenes to illustrate the evolving relationship between the Mother and Do-joon from the film’s first section to the latter. In the film’s second half, rapid cutting is employed to accelerate the investigation, with a question being posed in one scene before swiftly transitioning to a different location where the Mother receives the answer. This cutting also alters the perception of time. At the same time, the film’s first half follows a primarily linear narrative, while the second half frequently shifts between past and present.
Memory plays a crucial role in the story. Do-joon struggles to remember things quickly, often rubbing his temples to try and recall information. However, he doesn’t always remember what he wishes to do. The ability to forget specific memories becomes significant, as does the Mother’s knowledge of acupuncture, notably a pseudoscientific treatment method.
The unnamed ‘Mother’ indicates that Bong wanted her character to be more universal. Her excessive love and overbearing nature create an uncomfortable dynamic in their relationship. However, the Mother believes she is doing her best to care for and provide for her son, who is vulnerable to being taken advantage of. This is exemplified by Jin-tae, who initially lets Do-joon take the blame for the mirror incident and only assists the Mother with her investigation after she pays him.
‘Mother’ is a powerful film that captivates right from the opening sequence, where the mother dances in a field. This intriguing and engaging start keeps you hooked from the very first minute until the end. The cast, led by Kim Hye-ja, delivers outstanding performances throughout. The screenplay and characters are well-developed, and the setup is meticulously crafted before the investigation unfolds. When the truth is finally revealed, it leads to a fitting conclusion that resonates with everything that has happened before.
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