Customer Reviews

Andre's Mother

5 star:		(9)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

A splendid film that originally premiered on PBS' "American Playhouse" back in 1990. Terrence McNally's inventive and emotionally charged script opens at the funeral of a gay man named Andre (a character who never appears onscreen), and charts the uneasy relationship between Andre's mother (Sada Thompson) and his life partner Cal (Richard Thomas), both in flashbacks and in their present time of sorrow. The two were never able to emotionally connect during Andre's lifetime, and his death has created a volatile atmosphere in which repressed feelings, suppressed resentments, and unexpressed grief threaten to boil over and consume them both.

Thompson and Thomas both give heart-wrenching performances, and play off of one another exquisitely. Thomas' anguished description of Andre's battle with AIDS is simply bone-chilling. The incomparable Sylvia Sidney, one of Hollywood's finest leading ladies of the 1930's, makes an indelible impression as Thompson's free-spirited mother; and Haviland Morris is exceptional in the small role of Thomas' supportive sister. Short, poignant and bittersweet, "Andre's Mother" is heartily recommended to those who appreciate character-centered drama at its finest.

Andre's mother is, as Cal Porter (Andre's life partner played by Richard Thomas)says - inimitable. She is fiercely afraid to face the realities of having a gay son who has lived a happy and fulfilled life. Even in his death, she remains stoic, cold and removed. As the story unravels, so too, does her heart. With the influences of Cal, her own mother and even a few strangers, Andre's mother (brilliantly portrayed by Sada Thompson) comes to know the beauty her son shared with those in his life and the measure of love he received. She also has to choose whether to ultimately face the realities that need facing - a son lost forever, a son-in-law with whom she could build a loving relationship and a newfound broadmindedness. A touching, beguiling and pertinent film.

This is a masterful film, one which manages to be powerful in it's message without being overly sentimental. It tells the story of the mother whose son has died of AIDS and her making peace with his having lived a life style she could not understand.

The burial scenes and the symbolic white balloons held by the mourners provide the climactic part of the film, and the close ups of the mother and her final acceptance.

This is an important short film, because it is a film of our times. Those of us who are not gay nor associated with those of that lifestyle still need understanding and compassion...not compassion for their lifestyle, but compassion for the rejection they often receive. Association with Andre's Mother and struggling alongside her to accept the individual right to choosing lifestyle is a rewarding experience.

I saw this film in a class just recently and it was brilliant. As a lover of literature and a semi-openly gay male it really moved me and inspired me. I recently came out to my parents and they are really having a tough time accepting the person that I have revealed to them. It took all the strength I could muster up to keep from crying at the site of Andre's Mother and the resentment that she had towards Cal (her gay sons lover) and even her son, Andre, after his untimely death at the hands of the Aids virus. This film is riveting and a definate worthy buy. I couldn't reccommend it more for those who love good literature set to film.

I saw "Andre's Mother" on television when it was first presented. I have never gotten over the experience. Richard Thomas puts John Boy Walton away to become a totally different, believeable character. Sada Thompson is her usual, fantastic self. The AIDS death plot is just a vehicle to a study of human behavior; dealing with death and disappointment. I would recommend this to anyone. And it costs less than two seats at a bargain matinee.

I have just watched "Andre's Mother" for what must be the umpteenth time-- but the first time in months. As always, the film brings me to tears -- and not merely because my closest friend died in my arms 10 years ago of AIDS. The emotional reach of the film goes beyond one viewer's experience, mainly because of a magnificient script by Terrence McNally and heart-wrenching performances by Richard Thomas as Cal (the lover of the never seen Andre who dies of AIDS) and Sada Thompson (as Andre's mother). But, as several reviewers here have said, there's not a perfomance here that isn't moving and compelling. I will not repeat what has been so well commented on. But I do want to make a correction in two reviewers' comments, not to nit-pick but because the comments go to the heart of the film. Thompson's character cannot accept her son's gay life; it is something she cannot approve of. She sees it as some kind of condemnation of her, and she accuses Cal of having stolen Andre. There is something almost rock-like in her, as Thompson -- wrapped in a long black coat with a tight hood over her head -- rejects all of Cal's attempts to reach her. And Cal, who experienced that same rejection from his own mother, practically melts as he cries, "I had always dreamed we could be friends." But here is where the reviewers' errors come in. Both Amos Lassen and R. J. Barko say that Cal cries out that Andre's mother is "inimitable." He doesn't say that; he cries: "Why are you so implacable?" The words have vastly different meanings. "Inimitable" would mean that Andre's mother can't be imitated -- but Cal has just said his own mother was the same way. "Implacable" means that she can't be placated or appeased; I think a valid interpretation of what Cal -- who is a writer, a word-smith, if you will -- is saying is, "Why can't you be moved? Why are you so rock-like in your condemnation of Andre's being gay, of me, and of our love?" And then, this young man who has just lost the love of his life, breaks into sobs, cries, "Oh, why can't you love me?" and wraps Andre's mother in a the embrace of a child seeking protection and comfort at a time of great emotional pain. Andre's mother remains unmoving -- at first. But that little child in Cal does reach her; she does move. Hesitantly, but then with growing assurance (and, perhaps, affection), she pulls Cal into her arms, gently patting him as their hug tightens. Hesitant tears begin to flow from her eyes to match Cal's sobs. They have connected. Andre's mother no longer is implacable.

This short 1990 PBS movie by Terrence McNally-- fewer than 60 minutes long-- is as good as any drama ever written on the AIDS epidemic and is just as powerful and devastating sixteen years later. The plot is straight forward. The film opens with the funeral of Andre and then goes back and forth from the present to the past with scenes of Andre's past life (although we never see him), a visit from his mother from Dallas, conversations between his mother and grandmother, etc. The film reminds us of what many of us have tried to forget since the life-prolonging drugs were made available in the U. S. in the mid-nineties, that all too many parents acted very badly in those awful times. Many of us can relate to every frame of this movie: the elegant memorial service held by the deceased's family of choice, the members of his birth family-- at least some of them-- who do not have a clue as to what is going on at the service, the obligatory understanding and kind sister (in this instance his "sister-in-law"), the release of balloons to signify that we have let go the one we loved so dearly.

Richard Thomas gives an outstanding performance as Andre's lover Cal as do Sada Thompson as "Andre's Mother" and Sylvia Sidney as his grandmother. On the other hand, there is no second rate acting by anyone here.

The title is deadly. In an emotional scene after the memorial service, Cal compares Andre's mother to the comic strip character Lulu's mother, indicating that she is not even known by her own name-- it is only mentioned a time or two and never in the present-- but simply as "Andre's mother." I for one know a mother who acted so much worse in a similar situation than this woman did. I never learned her name either. On the other hand, I knew a Doris, a Lily May and a Marlene who showed unconditional love for their sick children.

Andre's memorial service begins with an otherworldly beautiful soprano aria from Mozart's "Il Re Pastore," a touch of genius on the part of the writer.

This film is a must for those who like dramatic and emotionally moving films. Terrific acting makes the entire experience of watching this film totally worthwhile.

I had seen this movie on TV way back in 1991 on a local PBS station. I hadn't seen it since then. So when I got this DVD recently, I was really looking forward to seeing it again. I remembered how well-acted this movie was.

It is a very good movie. However, I noticed that some of the dialogue seemed a little "forced" in certain parts. You could tell that the actors were "reading" scripted lines. This only happened in a couple places. Other than that, all the other dialogue was rendered in a natural and effective way.

This movie is quite sad, and the actors really bring that across. You can sense their pain and hurt as they work through the anguish of Andre's death.

This is a very good movie (and very short). Well worth the investment!

ANDRE'S MOM IS A WONDERFUL, VERY EMOTIONAL STORY, I DARE ANYONE NOT TO SHED A TEAR... WOULD GIVE IT 10 STARS IF POSSIBLE