MY SON, MY SON, WHAT HAVE YE DONE?

US, 2009, 90 minutes, Colour.
Michael Shannon, Willem Dafoe, Chloe Sevigny, Udo Keir, Grace Zabriskie, Michael Pena, Loretta Devine, Irma Hall.
Directed by Werner Herzog.

After his fling at making a US police thriller, the remake of Bad Lieutenant, Werner Herzog ventures again into American suburbia, this time in San Diego.  The film opens with police patrolling (Willem Dafoe and Michael Pena), chatting about a car chase, Tarantino style.  We may think Herzog has become enamoured ot the US police stories.  He has and he hasn't.

In fact, the framework of the film is a house siege in a quiet street but the substance of the plot is told in flashbacks.  We learn that the quite odd Brad (the often sinister Michael Shannon) has killed his mother.  He has called his fiancee (Chloe Sevigny) and his theatre director, (Udo Keir) to come to the scene.  They provide the narrative for the flashbacks - to Peru where instead of white water rafting, Brad declares that he hears voices and God has told him what to do; to his work in a drama ensemble putting on the Oresteia, the film drawing on Green tragedy to show the myths of matricide and the reality.  He is then lost in Tijuana, buying cushions for his motor, rescued  by his fiancee, then giving the pillows to a young man in a park, visiting the sick in a naval hospital (security stops him) and then placing a basketball in a tree for a boy to find it and become a great player.

Appearing in the flashbacks is his strange, even eerie, mother (Grace Zabriskie from films by David Lynch who executive produced this film.  As a smotheringly devoted mother, she has determined Brad's life, invaded his privacy and, so, fore-ordained he death.

The film veers between sige and flashbacks.  Herzog has said that he wanted to make a horror film without gore or exploitation touches.  This means that his film is strong on characters and situations.  It plays awkwardly at times but is atmospheric.

1.The title, the language, the tone? The mother-son relationship? The background of Greek tragedy and matricide?

2.The work of Werner Herzog, the decades, his work in the United States, police, madness and obsession?

3.The San Diego setting, American suburbia, the pleasant city, the streets, the suburban homes? The contrast with Peru, the rivers, Machu Picchu? The contrast with Tijuana? The park in San Diego? The theatre, Calgary, the hotels? The musical score?

4.The introduction to the police, Willem Dafoe and Michael Pena, driving, chatting, the story about the speeding car and the ticket, establishing the characters, Dafoe as the firm person in charge, Pena as the eager and volunteering policeman? Their continuing their work during the film? Dafoe as patient, polite, getting coffee? Pena with the pizza, the gun, wanting to intervene?

5.The situation, the dead body, examining the body, the sword, discussions with the neighbours, the Razzle Dazzle Cup and the first encounter with Brad, letting him go?

6.Ingrid’s arrival, the phone call to her, the engagement, the years, her love for Brad, knowing him, understanding, wanting to help? Lee and the theatre, coming from Los Angeles, discussing Brad, offering to help?

7.The flashback to Peru, the group, the wild waters, the meditator? The wet season, the rapids, Brad not wanting to go, the inner voice, the background of Machu Picchu, God’s presence to him?

8.Brad, first impressions, the Razzle Dazzle Cup, talking with the flamingos? With the police, the oats can and the image of God? Ordering the pizza?

9.Brad’s return to America, with Ingrid, the mother and the meal, the insistence on eating the Jello, her intrusion into the room, breaking privacy, bringing the drinks, encouraging Ingrid? The play, the Greek background, going to his uncle’s ostrich farm, the discussions about ostriches, about acting – and actors being gay or African Americans? The sword? The rehearsals, Brad reciting his lines, tense, Ingrid’s performance? Lee’s comments during the rehearsals, his support of Brad, criticisms? Brad’s bland recitation, his going out of the play? The matricide theme?

10.The Oresteia, the background, Brad and his dead father, the hospital? His relationship with his mother, feeling he had to protect her?

11.The trip to Tijuana, Ingrid rescuing him, buying the pillows (and his mother saying he tried to smother her with one)? His decision to visit the sick in hospital, the sick in general, the reaction of the authorities, security? In the park, the gift of the pillows to the boy passing by, the basketball and leaving it in the tree? The night and his restlessness?

12.The visit to Calgary, the performance of the play, Brad reciting the lines from the audience, the reaction, in the hotel with his mother and Lee?

13.The two neighbours, recovering, telling the story, the flashbacks to Brad’s visit, the coffee, getting his mug, bringing the bat, the sword, the verbal description of his mother’s death?

14.His decision to come out quietly, surrendering himself?

15.The aspect of horror, Herzog wanting to display no gore? How effective as horror?

16.The final image of the basketball in the tree, the woman taking the photo, the boy looking around and taking it – and Brad’s hope that he would be successful with it?