And indeed, however you initially came to it, it’s a story that’s probably familiar to you and its pigs-blood-at-the-prom-scene provides some of the most iconic horror imagery in popular culture.
But underlying the story of the Carrie White’s sudden, destructive use of her powers is something much less uncanny and inexplicable, though no less terrifying—her totally fucked up relationship with her mother, played in 1976 by Piper Laurie and in the new version by Julianne Moore.
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Being ordered by your mother to “Go to your closet and pray” is hopefully not a parenting technique of which too many of us have had first-hand experience.
Both can be monstrous, yet neither is a monster, and the speed with which our sympathy swings from one to the other at times threatens whiplash, with almost every moment of grace and redemption immediately undercut by a look, or a casual, thrown-off comment of such pure malice that it makes you wince, and vice versa. But she could be very cold and rejecting,’’ it’s clear the personal resonance that this story has for him.It’s a heady, affecting and lavishly laid-out buffet (Turner’s costume budget, for example was the highest ever for a picture to that date) topped off by an extraordinary Mahalia Jackson gospel performance which you will, we guarantee, be watching through tears.“Thirteen” (2003)While we’re definitely out of step with the near-universal praise and acclaim that was heaped upon Catherine Hardwicke’s directorial debut, there’s no denying that it’s a film that at its heart is about a messed up mother/daughter relationship.And Sarah Jane, a complicated, often resentful young girl whose light skin allows her to pass for white (which she desperately identifies with), but only at the cost of rejecting and repudiating her deeply loving mother Annie.The filial relationships become more central as the film goes on, and its second half is largely devoted to their maternal issues: Susie inevitably falls in love with her mother’s boyfriend (the extraordinarily handsome John Gavin) while Sarah Jane becomes wilder and eventually runs away to be a burlesque dancer, changing her name and denying all ties to her heartbroken, saintly mother.Cookies používáme proto, abychom mohli přizpůsobovat a měřit reklamy a vytvářet bezpečnější prostředí.Když na tomto webu na něco kliknete nebo přejdete, vyjádříte tím svůj souhlas, že smíme pomocí cookies shromažďovat informace na Facebooku i mimo něj.It’s an arrangement which becomes long-term, with Annie eventually (voluntarily) settling into a kind of housekeeper role, while Lora pursues her career.Sirk, however shifted the focus of the 1934 Claudette Colbert-starring film of the same name, more onto the daughters, and so we get to know Susie, the sweet, blonde daughter of Lora’s who’s chief gripe with her mother is the benign neglect she suffers as the ambitious Lora becomes more in demand.Bad mothers have formed the focus of two of our previous features, (here and here), and while there’s naturally some crossover, this time we’ve chosen to highlight films that specifically deal with mothers and daughters and the oddly hot-housed, magnified and sometimes distorted relationships that can spring up between them.It’s fascinating, fertile territory and there is a huge volume of fiction dedicated to navigating it, but here are five particularly apropos films for anyone who’s ever been a daughter, or anyone who’s ever had a mother.