Maternal madness is a topic that has inspired filmmakers from time immemorial, in examples that range from ROSEMARY’S BABY to WE NEED TO TALK ABOUT KEVIN. The latest filmmaker to utilize the trope is Canada’s Craig David Wallace, of TODD AND THE BOOK OF PURE EVIL fame, who directed and co-wrote (with Ian Malone, another TODD alum) MOTHERLY, an independently made feature that was released on VOD in November 2021.
Regarding Mr. Wallace, here’s a fact that few people know: this is not his live action “feature debut” (as has been mistakenly claimed by many reviewers). That designation goes to the little-seen 1995 anthology film THE LAYPERSON’S GUIDE TO MODERN LIVING, whose budget was reportedly equivalent to that of MOTHERLY. This means that budget was very sparse.
…that budget was very sparse.
In a set-up that could have spring directly from the pen of the late Richard Laymon, we have Kate, a young woman raising her daughter Beth in a secluded farmhouse. Kate lives in terror of her jailbird husband Brad tracking her down and hurting Beth, and (as flashbacks suggest) with good reason. But then, on the night of Beth’s ninth birthday, the house is invaded by a gun wielding, mask-wearing couple, the male half of which snatches Beth away while the woman ties Kate to a chair—her immediate response: “I’m gonna kill you!”
The woman reveals herself to be Mary, an old acquaintance who blames Kate for the murder of her daughter—for which Brad was jailed. Mary’s companion is Lewis, demonstrating his criminal prowess by immediately losing sight of Beth, who proves far wilier and more resourceful than she initially seemed.
What follows is captured by handheld camerawork and subtle, non-showy lighting.
What follows is captured by handheld camerawork and subtle, non-showy lighting. Elaborate visuals weren’t possible on the budget with which Craig David Wallace was saddled, and nor were a variety of locations. What he pulled off with his limited means, especially in light of LAYPERSON’S (a film whose non-budget was all too evident), is undeniably impressive—and anyway, a certain amount of low budget skuzziness is to be expected in a Canadian film (as a line of dialogue written by my—and Craig’s—former screenwriting instructor Jack Darcus states, “We may be little and dirty, but we’re Canadian!”).
“We may be little and dirty, but we’re Canadian!”
The acting, particularly by Lora Burke (of POOR AGNES and FOR THE SAKE OF VICIOUS) in the lead role, is quite strong, overcoming the at-times clichéd dialogue. What really makes this movie, however, is the final twist, which places what initially seems like a standard issue home invasion thriller in the Uniquely Demented category. I understand that ending has become quite divisive among viewers, with some dismissing it as overwrought and others sharing my views on it, but either way it’s a crucial component because, if nothing else, it single-handedly justifies the title.
Vital Statistics
MOTHERLY
Raven Banner
Director: Craig David Wallace
Producers: Avi Federgreen, Laura Tremblay
Screenplay: Ian Malone, Craig David Wallace
Cinematography: Christoph Benfey
Editing: Joel Varickanickal
Cast: Lora Burke, Tessa Kozma, Kristen MacCulloch, Nick Smyth, Colin Paradine, Angel Gallego, Laura Tremblay, Christina Bryson, Ian Malone