‘Four Mothers’ Review: James McArdle Delights in a Toasty-Warm Irish Mother-Son Comedy

As I sat down to watch “Four Mothers”, I felt like I was embarking on a journey through the intricate tapestry of family dynamics and personal growth, woven together by the skilled hands of Darren Thornton. The film’s tender exploration of the complex bond between mothers and sons resonated deeply with me, stirring memories of my own experiences that spanned continents and cultures.

The genre of movies focusing on mother-son relationships is underrepresented in Hollywood, possibly indicating a bias towards patriarchal narratives. However, exceptions like Darren Thornton’s “Four Mothers,” a heartfelt domestic comedy with depth and emotion, challenge this trend. In the film, James McArdle portrays Edward, a mild-mannered writer who helps his disabled mother Alma (played by Fionnula Flanagan) get dressed for the day, injecting humor into their daily routine to mask the struggle of her dependence. This seemingly ordinary scene of role reversal is a rarity in its tender portrayal of everyday life and sets the stage for a movie filled with similar poignant, genuine moments.

Making its debut at the London Film Festival, competing in the main category, “Four Mothers” is a return for Irish writer-director Thornton, whose 2016 film “A Date for Mad Mary” didn’t quite receive the recognition it deserved after winning festival hearts. Similar to its predecessor, “Four Mothers” blends humorous dialogue with deeper character analysis, while also showcasing a keen understanding of queer identity that should appeal to LGBTQ-focused broadcasters and distributors. For McArdle, who is primarily recognized for his work in theater and television, this is his first major film role, where he convincingly adopts an Irish accent and positions himself as a charming lead reminiscent of Andrew Scott.

In collaboration with his brother Colin, Thornton is using the 2008 Italian film “Mid-August Lunch” as a base, but has shifted the setting from the heat of high-summer Rome to the consistently gloomy climate of suburban Ireland. This adaptation, more a creative interpretation than a direct remake, appears to be perfectly suited to the unique social, political, and religious dynamics of its new environment. The Thorntons’ work also emphasizes the sexuality of its male lead character, which adds depth to the narrative in this new context.

In his mid-thirties and living solo, Edward pens young adult novels with a focus on queer romance. However, it’s been quite a while since he’s engaged in dating. Instead, most of his life revolves around Alma, an 81-year-old widow who uses a wheelchair due to a stroke. As her full-time caretaker, Edward is loving and committed, but occasionally feels a touch of resentment over the unfair distribution of tasks between him and his straight, married brother, who seldom helps. Fortunately, he has companions in friends Colm (Gearoid Farrelly) and Billy (Gordon Hickey), as well as his recently divorced therapist Dermot (Rory O’Neill). They are all gay men bound to their mothers for life due to live-in arrangements, yearning for some freedom.

A man who often puts others’ needs before his own aspirations finds himself struggling with self-care, even as he repeats these concepts during therapy sessions. However, when his publishers demand his attendance on a U.S. book tour following the success of one of his novels on TikTok, he becomes overwhelmed with anxiety. Despite being tied down by obligations to Alma, his state of mind deteriorates further when Colm, Billy, and Dermot unexpectedly go on a Pride trip to Spain, leaving their mothers – the feisty Jean (Dearbhla Molloy), proper Maude (Stella McCusker) and free-spirited Rosey (Paddy Glynn) – in his care.

In this script by the Thorntons, there are a few humorous yet believable plot twists that make sense due to the emotional depth and authenticity of the writing. One character, Alma, communicates solely through a digital voice app and finds herself as bewildered as Edward by their sudden unexpected guests. Their interactions can remind you of a particularly witty episode from “The Golden Girls.” However, beyond the clashing personalities, the dynamics between the four women provide an insightful portrayal of a society in transition, grappling with diverse views on marriage, parenthood, and acceptance of LGBTQ+ individuals – a reflection of a nation slowly moving away from traditional conservative Catholic values. Furthermore, Edward’s journey to assert himself, which includes unrequited feelings for his ex-Raf (Gaetan Garcia) who visits daily as Alma’s physical therapist, may resonate with many older gay men who struggle to find their place in a heteronormative society.

As a movie enthusiast, I found “Four Mothers” to be a story that subtly reveals itself without needing excessive verbal explanation, much like its author’s protagonist, Thornton. Instead of spelling out the intricacies, the film allows the underlying tensions and shared feelings between characters to resonate with viewers. McArdle skillfully portrays the exhaustion and self-blame of a man whose love is stretched thin but never wavers; his dynamic with Flanagan adds an edge that balances the film’s warmth and sweetness perfectly. Alma’s advice to Edward, “Live your life,” towards the end of the movie serves as a straightforward lesson from the story – though another takeaway might be that you’re already living more than you realize.

2024-10-22 19:19

‘Four Mothers’ Review: James McArdle Delights in a Toasty-Warm Irish Mother-Son Comedy

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