Liam Trim with the latest edition of ‘Page and Screen’…
Mother’s Day (or Mothering Sunday, according to my traditionalist Dad) is when we celebrate the unsung heroes of society. Mothers are the underappreciated glue holding together such fundamentals of everyday life as law, order and excessive cleanliness. There is no higher calling than motherhood. Political leaders, from Stalin to Cameron, have recognised that a good mother, providing a solid foundation for a good family, is the perfect platform for a great nation. Who do men beg for in their darkest hour? Not their wives, but their mothers. Whose betrayal pushes Hamlet to the brink of madness? His mother’s. And who saved the day in the last Doctor Who Christmas special? You guessed it, the mum.
In the build up to Mother’s Day, the commercialised clutter clogging up the high streets is physical evidence of the cult of motherhood. The perception is that this is the one day of the year that we openly show our gratitude to the women who brought us into the world. Lionel Shriver’s now well known book, We Need to Talk About Kevin, is bold enough to suggest that mothers are often showered with too much praise and attention. In fact, it is largely about the way society continually worships its mums and the burden this places on ordinary women who don’t fall completely in love with the role. The novel has a controversial reputation and this is just one of the big ideas within its pages with the potential to shock.
I’m yet to see Lynne Ramsay’s (Morvern Callar, Ratcatcher) adaptation of Shriver’s novel and would be interested to hear your thoughts below readers, because inevitably the hype around the book has focused on the high school shooting that the narrative grows towards. I feel that the themes relating to the violence raised by the story are secondary to other issues Shriver illuminates with her writing. For me the most convincing parts of the book, where both Shriver’s style and substance were at their best, was early on, as central character Eva contemplates having a child and then finds the experience of birth and early motherhood underwhelming and depressing. In an article for The Guardian last year, Shriver claims to be happy with Ramsay’s “thematically loyal” version of her book. But the marketing has focused on Ezra Miller’s (Another Happy Day, The Perks of Being a Wallflower) angry and angst ridden adolescent, rather than Tilda Swinton’s (Michael Clayton, I am Love, Moonrise Kingdom) struggle with motherhood, and one of my friends was horrified that ordinary looking John C. Reilly (Magnolia, Step Brothers, The Dictator) was chosen to play handsome husband Franklin.
We Need to Talk About Kevin is at its most horrifying when Eva feels totally trapped by her son. She is certain that her bawling infant harbours feelings of resentment and hatred towards her. The book actually becomes less and less frightening as we get closer to the shooting itself. Teenage Kevin is brooding, spiteful and distant, and his mother has come to accept their detachment somewhat. The preceding enforced attachment is far more chilling. In general the characters and ideas are more engaging and powerful early on; in fact the book runs out of steam as we slide towards the atrocity, with the twist at the end not proving revelatory enough to make up for this.
Shriver’s phrasing, imagery and dialogue are all exemplary at times, but occasionally the format, of letters to her absent husband, feels artificial and forced, leading to clumsy writing lacking in subtlety. I was fascinated by Eva as a career woman, gripped by the debate she had with herself about becoming a mother. Perhaps Shriver is at her best during these sections of the novel because juggling a successful career is what she knows well. Eva was pressured into motherhood and it’s appalling to witness her regrets and pure disgust at herself for feeling nothing towards her own offspring. How many mothers feel compelled to have kids because it’s normal, because of peer pressure? How many find themselves chronically disappointed afterwards? The book concedes its originality when it loses sight of this disturbing observation, resorting to painting Kevin as some sort of evil, devil child, ought to wreck his mother’s life.
I am essentially saying that the scariest idea in We Need to Talk About Kevin is not emotionless kids and teenagers suddenly killing their classmates with arrows. It is in fact the notion of something you have great expectations for turning out to be crushingly disappointing. What if that first kiss is just an awkward clash of tongues and intermingling saliva? What if the FA Cup final ends 0-0? What if the sex on your honeymoon is someway short of ecstasy filled spiritual union? As film fans, we perhaps know this fear better than most. Imagine watching Raging Bull or Citizen Kane and thinking nothing more than “meh”. You could never confide in anyone. With adaptations, the fear is especially acute. What if, when I finally see Ramsay’s adaptation, she has failed to capture all the things I’ve mentioned above that I liked about this book? But this fear is perhaps a vital part of the thrill of watching adaptations, and life in general. The knowledge that you might be disappointed just makes it so much better when you’re not.
Liam Trim (follow me on Twitter)
