Mother Mary

NEW IN THEATERS! Mother Mary is a stealthy, slow-motion ambush from director/writer David Lowery. Mother Mary (Ann Hathaway) is a global mega music star. Think Taylor Swift or Lady Gaga. Style-wise, she lands somewhere between the two. All is not well for Mother Mary as she ramps up for her next tour, which may be her last. She’s emotionally distressed, and what she believes will fix this is the right new dress to perform in. She wants an apex dress that wows the world while expressing everything she is and all she’s done. 

It’s a tall order, and all the attempts presented to her fall short, leaving her increasingly despondent. She concludes in despair that only one person can make this dress, a person who knows her best. That is English fashion designer Sam Anselm (Michaela Coel). The problem with asking Sam is that, though they were best friends, they had a falling out a decade ago. Mother Mary moved on to new designers, and Sam restarted her career in England, clawing her way back into the fashion world after depending on Mother Mary for years. In her angst (which of course is about much more than a dress) Mother Mary flies to England, finds her way to Sam’s estate in the rain, and barges in as she is preparing for a major fashion show. Sam is less than pleased to see her. 

“All is not well for Mother Mary as she ramps up for her next tour…”

From the perspective of the pop star, it seems their friendship had faded slowly as people drifted into her orbit and new ideas were brought forward. Mother Mary was hurt about losing her, but put it aside. Sam doesn’t see it that way, as she feels unceremoniously dumped. Now the tables have turned, and Mother Mary needs Sam, who no longer needs her at all. She has moved on, prospering in her own business. Sam’s response to Mother Mary (whose government name we never learn) is anger and sarcasm, and in fine British style, she’s witty, and her words are as sharp as a knife. Sam is annoyed at the interruption, but seems pleased at the opportunity to vent at her one-time friend. She agrees to make the dress and brings Mother Mary out to her workshop, a primitive stone barn with timber rafters. She allows no distractions, no music. She will only work if Mother Mother follows her every instruction. There is an almost dominant/submissive atmosphere to this arrangement. 

This sets the stage for the psychodrama that unfolds. Sam pries into Mother Mary’s reasons and desires, seeking details about her life since they parted ways. She also wants Mother Mary to talk about their break-up. Sam means to fold all this trauma into the dress. As the conversation continues, we see flashbacks to Mother Mary performing her stadium shows. It all spins toward a denouement where we wonder, will Sam finish the dress? Will the hurt between them be mended? Will Mother Mary find her joy in her art/life again?