Mama

As the economy comes crashing down in North America, Jeffrey (a casualty of the market) loses his mind and sets about destroying his private life. Having thrown his two daughters in the car, Jeffrey is on the road to nowhere. With his daughters terrified and he himself lost (in more ways than one), it's not long before an accident occurs.

Bruised and battered, the broken family stumble from their car and begin walking aimlessly through the forest to which they've found themselves. Finding an abandoned log cabin, Jeffrey ushers in his young daughters with malicious intent.

This pre-credit sequence is almost a film within itself and goes about laying the foundations for Mama -  the debut feature from Andres Muschietti, produced by Guillermo del Toro (of Hellboy and Pans Labyrinth fame).

By championing new directors, del Toro is able to tell more stories than he would otherwise be able. Certain themes have emerged from the films del Toro has put his name to - with children being the principle victims of a twisted fairytale aesthetic. Due to the expertise behind each film however, they do all differ - as basements differ from attics (in the same nightmarish house)!

Mama continues some five years later with Jeffrey's brother, Lucas (Nikolaj Coster-Waldau) spending every waking hour (and every penny earned) searching for his nieces. They are finally found in the very cabin where we left them. They are bought back to civilisation, via the hospital and re-cooperation centre of Dr Dreyfuss. It would appear the girls had only themselves for company, while surviving on a diet of cherries alone. Animal-like in instinct and behaviour, it takes a good while for the girls to return to normality.

Lucas and his girlfriend Annabel (Jessica Chastain) take in the girls eventually, meaning big change for all involved - particularly Annabel, who's rock-star lifestyle is suddenly compromised.

Despite the challenges of rehabilitating two girls (with the youngest showing little sign of returning to the world), the new family soon discover a third-party resident in their home. An entity that seemingly looked over the two girls during their time in the cabin - the ubiquitous Mama!

Like many of del Toro's productions, the film follows the plight of the young cast, with adults falling foul from sticking their noses where they don't belong.
The two young actresses (Megan Charpenteir and Isabelle Nelisse) show great restraint. They are particularly good in the effects-driven scenes - displaying more imagination than most adults saddled with the task of interacting with a tennis ball or some such prop.

As an alternative human mother Annabel presents the most interesting character arc. Content with being Lucas' girlfriend while pursuing a career in music, she is suddenly burdened with children to look after. With little compassion to offer Annabel struggles at first, but soon finds her feet as paternal instincts kick in. Annabel is another change for Chastain who's carving out a career as a character actor, rather than a movie star.

Beyond the family dynamic, there's a couple of side-stories concerning Dr Dreyfuss' restless fascination with the case - and the relentless jealousy of Lucas' sister-in law Jean, who originally fought for custody of the girls.

Mama is full of great moments, boasting plenty of scares. Mama herself is an effective ghoul - with the suggestion of her presence proving more sinister than when she's revealed fully.

Like Don't be Afraid of the Dark and The Devil's Backbone before it, there's a tenderness to Mama which shows it's hand after the majority of the scares. Another main staple of del Toro's productions, this sets his films apart from the likes of more chilling and adult fair.

Mama is a great addition to the genre - a twisted fairytale in the Brothers Grimm (del Toro) tradition!

3/5

Poster image courtesy: www.impawards.com