Film

Mother of Tears: The Third Mother (2007)


Fright fans have been waiting for this event for nearly three decades. After 1980's Inferno introduced the concept of a continuing saga about the infamous Three Mothers, and the possibility of the ultimate horror trilogy, those who've followed Dario Argento's career have wondered when he would finally deliver the last act of his terror triptych. Suspiria has long been considered a macabre masterpiece, the kind of unbridled moviemaking genius that ushered in copycats, great expectations and the prospect of even better things to come. The Italian auteur's follow up was crucified, critics and audiences both startled by its dissimilarity to its source, as well as its purposeful sense of style over substance. Now comes Mother of Tears: The Third Mother, and again, Argento is defying convention to deliver another totally unique take on his previously forged black magic reality.

When an ancient urn is unearthed in an old Italian cemetery, it brings with it the standard portents of evil. The death of an innocent art historian marks just the first of many unspeakable acts. Soon, Sarah Mandy is caught up in a sinister situation that she barely understands. Chased by forces bent on destroying her, and unsure of the admonishing voice in her head, she seeks the help of fellow museum employee Michael Pierce. When he proves ineffectual, she searches out the counsel of the Vatican's last official Exorcist, as well as one of Rome's leading alchemists. Through her connection to her late mother, and the previous incarnations of Maters Suspiriorum and Tenebrarum, Sarah soon learns that Mother Lachrimarum has risen, and plans on orchestrating the second fall of Rome - unless our heroine can find a way to stop her.

Hitting the ground running and never giving up for 90 nasty minutes, The Mother of Tears (new to DVD from Genius Products, Dimension Extreme, and the Weinstein Company) is Dario Argento's final statement on his precedent as the definitive Delacroix of dread. Avoiding most of the slow burn visual splendor that made Suspiria a classic, and shunning all of Inferno's incomprehensible tone poetry, the 68 year old director has finally finished this long gestating journey - for better and for worse. There will be complaints that this film feels nothing like its predecessors, that there's an obvious scary movie overkill methodology at play. Indeed, the first film used witchcraft as an afterthought, the denouement in a plotline that had numerous other elements going for it. Similarly, the notion that pagans ruled a decadent New York apartment building was but a single facet in a film overloaded with optical - and occult - wonders.

Here, Argento seems to be saying 'enough is enough'. Instead of painting the screen with memorable imagery, or provocative pictures, he just antes up the arterial spray and hopes for the horrific. Luckily, he delivers some delightfully disgusting set pieces. Throats are slit, bodies carved open, and various torture devices remove eyes, mouths, and other organs from their biological owners. This is also one of the few films that put kids directly in harms way. A baby is tossed off the side of a bridge, while another toddler is vivisected into several disturbing parts. The F/X work is wonderful, unsettling in its power and putrescence. Sure, there are some moments of mindless CGI that get in the way of the wickedness, but overall, The Mother of Tears provides an open grave full of gruesomeness.

The director also has a capable cast on hand to sell the sluice. Though she's reduced to 'last girl' role quite often in this splatter rampage, daughter Asia Argento is an agreeable lead. She may act whiny and weak a great deal of the time, but she has a presence that the camera can't deny. And though she's hidden in smoke and mirrors for her part here, it's great to see Daria Nicolodi back in the genre camp. As Detective Enzio Marchi, Christian Solimeno may come across as nothing more than plot fodder, but he makes good use of his screen time, and Adam James does a decent job as Mike, the art historian with an interest in the supernatural. Elsewhere, moments with the legendary Udo Kier and Coralina Cataldi-Tassoni remind us of why Argento is the master. No one kills a character like Dario.

As for the DVD itself, the added content is underwhelming in its quantity, wonderful in its quality. Argento is present for both an onscreen interview and various backstage sequences. The Q&A even drops a delicious bombshell - he may revisit the Three Mothers again. Having enjoyed himself immensely while making this film, a suggestion regarding a prequel has inspired the spirited 68 year old. An origins picture would be right up his alley, especially considering his love of making movies. During the Behind the Scenes featurette, we see Argento in his favorite position - implement of death in hand, camera over his shoulder ready to capture another senseless bit of slaughter. No matter his recent track record, this is an artist who clearly gets a thrill out of bringing his bravura vision to the big screen.

Yet what most fans are probably wondering is where Mother of Tears fits in the entire Mater mythology. It is clear that, when he came to this fabled finale, Argento knew his narrative would have to do some rather basic back peddling. He ties to Suspiria and it's dance school setting and makes reference to the Manhattan mayhem section of his set-up. There are call backs to the original Three Mothers book (which we see in Inferno) and lots of exposition regarding architecture, cults, history, and death. Again, this is the first of these films to feature the Mother plotline almost exclusively. We aren't dealing with a character discovering the witch and her secret, underlying purpose. Here, everything's out in the open and a part of it.

The observant obsessive will see references to other Argento works as well. The obvious bow is to his mostly forgotten effort Phenomena. With the use of a monkey familiar, and a last act flood of maggot-filled offal, the director clearly delights in reminding us of his legacy. Similarly, he seems to be channeling the entire post-modern creepshow canon, tossing in a homage to Clive Barker here, a direct reference to Peter Jackson and The Frighteners there.

Mother of Tears works best when it avoids conversation and simply brings on the carnage. It may not satisfy every fan of Argento's prosaic past, nor is it the realistic return to form everyone has been hoping for. Still, for anyone who doubts his power behind the lens, one look at this luxuriant, ludicrous exercise in excess will convince you - Dario Argento is a master, and Mother of Tears is an effective, engaging statement of same.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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