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My Son, My Son, What Have Ye Done?

3.6 out of 5 stars 33 customer reviews

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Editorial Reviews

Product Description

The first collaboration between legendary filmmakers David Lynch and Werner Herzog, My Son, My Son, What Have Ye Done is loosely based on the mysterious true crime story of a young stage actor who, obsessed with a Greek tragedy he's rehearsing, slays his own mother with a sword. Academy Award-Nominees Michael Shannon, Chloë Sevigny, and Willem Dafoe headline this psychological thriller written and directed by Herzog, produced by Lynch, and featuring Grace Zabriskie, Udo Kier, and Brad Dourif.

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The film takes place in Southern California, the story comes from an actual case, and the cast includes Willem Dafoe and Grace Zabriskie. It sounds like a David Lynch picture, except it isn't. Instead Lynch produced, while Werner Herzog directed. If Bad Lieutenant was Herzog's swamp noir, My Son, My Son is his desert noir. In another Lynchian touch, two cops (Dafoe and Michael Peña) provide entry into the San Diego-set story. Called to the scene of a murder, they meet actor Brad McCullum (Michael Shannon), who utters "Razzle dazzle" as they enter the flamingo-pink ranch house to find Mrs. McCullum (Zabriskie), dead by sword. Before Brad's fiancée, Ingrid (Chloë Sevigny), arrives, Herzog flashes back to Brad's days in Peru, where he found his "inner voice." The flashbacks continue to his participation in the famously matricidal Oresteia (Udo Kier plays the director). Combined with Ernst Reijseger's off-kilter score and Peter Zeitlinger's sun-bleached cinematography, it all exerts a certain queasy fascination, but Herzog's "whydunit" never really takes flight. Unlike Nicolas Cage's loopy lieutenant, Shannon invests Brad with a more recessive quality, which gives his madman greater credibility--at the expense of empathy. And yet… there's a scene with Shannon, Brad Dourif, and a tiny man in a tuxedo that offers the sort of what-the-heck magic that makes even the lesser films of Herzog and Lynch more interesting than most. Fortunately, there are enough of those moments to make the movie worthwhile, though not quite the messed-up masterpiece it might've been. --Kathleen C. Fennessy

Special Features

None.

Product Details

  • Actors: Michael Shannon, Willem Dafoe
  • Directors: Werner Herzog
  • Format: Multiple Formats, Anamorphic, Color, NTSC, Widescreen
  • Language: English
  • Subtitles: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Number of discs: 1
  • Rated:
    R
    Restricted
  • Studio: First Look Studios
  • DVD Release Date: September 14, 2010
  • Run Time: 93 minutes
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (33 customer reviews)
  • ASIN: B003JOOTW4
  • Amazon Best Sellers Rank: #102,736 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "My Son, My Son, What Have Ye Done?" on IMDb

Customer Reviews

Top Customer Reviews

Format: DVD Verified Purchase
In 2009, Werner Herzog delivered a stunning one-two punch with "Port of Call New Orleans" and this movie. I would rank "My Son, My Son" right up there with "Aguirre" in the Herzog canon. If you're looking for standard conventional Hollywood product, avoid this one. If you're looking for something that will keep you fascinated, confused, and thrilled by its originality, see it ASAP. As a portrait of insanity, "My Son, My Son" throws Hollywood's standard treatment of the subject in the wastebasket: You're never given an "explanation" for the main character Brad's descent into insanity, and he doesn't come off as a merely normal guy with some problems (let's face it, Russell Crowe in "A Beautiful Mind" is the most RATIONAL paranoid schizophrenic in the history of mankind!). I see and hear mentally ill individuals at the bus stop nearly every day, and their words make just as little sense as Brad's. This is a powerful, compelling, and sadly overlooked masterwork.
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To appreciate this movie, you need to understand the point of its weirdness. I think David Foster Wallace said it best when describing another David Lynch film, Blue Velvet:

"Blue Velvet captured something crucial about the way the U.S. present acted upon our nerve endings, something crucial that couldn't be analyzed or reduced to a system of codes or aesthetic principles or workshop techniques. The movie helped me realize that first-rate experimentalism is a way not to 'transcend' or 'rebel against' the truth but actually to *honor* it. It brought home that the very most important artistic communications take place at a level that not only isn't intellectual but isn't even fully conscious, that the unconscious's true medium isn't verbal but imagistic, and that whether the images are Realistic or Postmodern or Expressionistic or Surreal or what-the-hell-ever is less important than whether they feel true, whether they ring psychic cherries in the communicatee."

The important question is whether it succeeds at ringing psychic cherries. I can't speak for you, but for me the scene (beginning around the 20th minute) where Ingrid is trying to "straighten" the bed, and Brad comes and sits on it and wants to play music for her, and the mom barges in with brownies, "I'm just so happy for you both. ... Brad, can't you see that Ingrid is trying to straighten the bed?", the momentary look back before she leaves, "can't she ever knock?", and then she barges in again a few moments later, this time with wine, and then the prolonged, eerily-adoring stare--hoo boy that was one of the creepiest and realest and most magical scenes I've seen.

You cannot watch this as a normal movie, expecting clear answers, logic, or even linearity.
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I am a big Herzog fan which is why I bought this DVD. But as a career inner-city emergency medicine physician, in my line of work guys who have psychotic breaks then kill their mothers, or otherwise violently act out, are 3 for a quarter; we see them all day and all night long in the emergency department. And they ALWAYS have the same litany of perceived threat figures in their tunes-it is ALWAYS: Mother, sex, the Devil, and religious/racial minorities (various, depending on age and ethnicity) . I watched this film waiting for something interesting to happen and it never did. While the clinical evolution in the protagonist of yet another completely day to day, routine and pedestrian psychotic break was well done (talking to God, space alien ideations, &C.,and everyone therefore SHOULD have seen it coming) it devolved to just another guy in 4 point leathers who needed a large whack of Haldol and a medical clearance for psych.
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I was very pleased at how reasonably priced this DVD was. It was a great find! If you want to know more about the movie go to IMDB and look it up. My personal opinion is, that it is a great film done by two of my favorite directors, Warner Herzog and David Lynch. If you like anything from theses directors you will love this film.
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This is a very hard film for most people to swallow, although a lot of people have liked it. It is a Lynch film, but it is directed by Werner Herzog. And it is, fascinatingly, as good as and different than an actual Lynch film. It captivates the way any Lynch film does and it remains with you after seeing it the way a Herzog film does.

The mood created by Herzog and the script by Herbert Golder indicate that they were intending to focus on the type of film Lynch makes normally, especially as Lynch was the executive producer of this film. Perhaps the script was the reason Lynch decided to executive produce the script by Golder, which I thought was a perfectly oblique and befuddling script, the kind we normally expect from the pen of someone like Lynch or Charlie Kaufman, something that you can't wrap your mind around intellectually and the kind that deconstructing seems to only lead to further labyrinthine layers of metaphysical cul-de-sacs and switchbacks. Essentially, it is more suited for people who enjoy Lynch rather than Herzog's admirers. But it really works for both demographics, since Lynch people tend to also be Herzog people and vice-versa.

It is probably a great testament to Herbert Golder that both Lynch and Herzog signed on to this film. I see it as an unprecedented collaboration in some ways. Herzog doing his version of Lynch is also without precedent, since Herzog has always executed only what he wants, his own vision. So I see this film almost as Herzog's acknowledgment, tribute to, and admiration of David Lynch.
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