I see where the media that caters to and to a certain extent is supported by an audience of devout and literal-minded Christian believers have stepped to the forefront waving a flag of religious offendedness at the message of this spectacularly intriguing, fascinating and thought-provoking film.

I went to see Mother! because my beautiful lady had read about it and wanted to see it. I knew nothing about the film, had never heard of it, and expected – oh, I don’t know, perhaps some sort of Mommy Dearest or Flowers in the Attic or some such melodrama.

It took about 20 minutes for me to involve myself in what I saw as slow-moving action and unfolding. Had I realized from the get-go that I was about to see a powerful metaphor of an assortment of moral ecological and religious themes defined by human behavior, I might have picked up on all the clues early on and found myself anticipating a predictable outcome.

It didn’t happen that way. After those 20 minutes or so I found myself intensely tracking every word of dialogue, camera angles, indoor and outdoor views while attempting to mentally cache each hint or clue and thereby foresee what would happen. Such a process led me to an intuited notion that the meaning and intent of the film was not hidden but layered.

Comparisons are being made to the public reaction to Martin Scorcese’s  The Last Temptation of Christ as a film to either love or hate. The mood engendered in me by Mother! reminded me of my mood when I watched The Witch (2015).

Love it or hate it as a film with a message rather than an endorsement of a cause or attack on a religion, if the film is so well done as to force you to actually WORK at picking up the metaphorical intent and message, it is a movie well made.

The “villains” in this film are none of the principal characters. The villains are in fact the almost mindless extras whose main function seems to be that of home invaders who show no respect for the protagonists or the home.

As we will probably see a furtherance of the amazing polarization between the religious,  the not-religious and the secular in the context of this film’s message, I point to the thin-skinned reaction to whoever challenges a cause or belief from both polarized points of view.

Remember the religious hysteria around the Da Vinci Code?

Remember the back and forth between the religious and nonreligious about the graphic violence of The Passion of the Christ, Mr. Gibson’s faith-driven homage to the Roman Catholic version of the crucifixion?

Those who want to offend will offend.

Those who look to be offended will be offended.

The media-who-sensationalize-for-money will eat it all up.

It’s probably an autumn preview of the War on Christmas.