The Mother of Tears 2007 123movies

Watch: La terza madre 2007 123movies, Full Movie Online – An ancient urn is found in a cemetery outside Rome. Once opened, it triggers a series of violent incidents: robberies, rapes, and murders increase dramatically, while several mysterious, evil-looking young women from all over the world gather in the city. All these events are caused by the return of Mater Lacrimarum, the last of three powerful witches who have been spreading terror and death for centuries. Alone against an army of psychos and demons, Sarah Mandy, an art student who seems to have her own supernatural abilities, is the only person left to prevent the Mother of Tears from destroying Rome..
Plot: An ancient urn is found in a cemetery outside Rome. Once opened, it triggers a series of violent incidents: robberies, rapes and murders increase dramatically, while several mysterious, evil-looking young women coming from all over the world are gathering in the city. All these events are caused by the return of Mater Lacrimarum, the last of three powerful witches who have been spreading terror and death for centuries. Alone against an army of psychos and demons, Sarah Mandy, an art student who seems to have supernatural abilities of her own, is the only person left to prevent the Mother of Tears from destroying Rome.
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Ratings:

	5.0/10 Votes: 10,445
	47% | RottenTomatoes
	52/100 | MetaCritic
	N/A Votes: 360 Popularity: 4.711 | TMDB

Reviews:

A Mixed Bag of Italian Horror Sensibilities
It took me several viewings of Argento’s final film in his Three Mothers trilogy before I finally arrived at a sure, albeit ambivalent, conclusion.

The “plot”, as they call it, involves an ancient urn which causes the city of Rome to erupt into violence. Robbery and murder run amok and it’s all the result of Mater Lachrymarum (the Mother of Tears.) It’s ultimately up to a young art student by the name of Sarah Mandy to stop the chaos.

Asia Argento plays the role of Sarah. I don’t think Asia is without talent (I enjoyed her performances in Trauma and the Stendhal Syndrome – two earlier Argento efforts.) But while she shouldn’t entirely be held at fault here, her performance isn’t exactly great. She frequently comes across as wooden, although I believe much of this is a result of the poor dialogue. And perhaps more importantly, her wooden delivery and still fairly thick Italian accent give the proceedings quite a bit of charm. I wouldn’t say her performance enhances the film, but I suppose her looks are enough to keep the film going. Adam James’ character is boring and not at all engaging; this is true even when we’re given the chance to poke fun at him. He does nothing for me, and, at best, is forgettable. And then there’s Udo Kier. Doing what he does best, he’s over the top enough to be memorable, but he somehow never crosses into “too ridiculous” territory. His screen time is short but worthwhile.

One of Mother of Tear’s saving graces is its gore. Gone is Germano Natali’s (Deep Red, Suspiria) garish, paint-like blood (excellent in its own right); instead, Argento opts for a more Fulci-esque display of bloody mayhem. The camera lingers on every moment of gory detail. Argento has rarely been this brutal; there are plenty of memorable moments for gore hounds and the film’s first big sequence is a perfect example.

Mother of Tears’ soundtrack frequently pays homage to Argento’s past supernatural related works. The music during the aforementioned first murder sequence is a clear nod to Suspiria’s over-the-top, yet haunting operatic music. And later scenes do more than enough to hint at Inferno’s piano-based instrumentals. Overall, the film does a good job score-wise.

From a visual standpoint, Mother of Tears is hardly lacking. It may not have the Technicolor look of Suspiria or the nuanced production design of Inferno, but it’s hardly dull. It takes some of the artsy indoor/outdoor scenes of The Stendhal Syndrome and combines it with the more elaborate set-pieces found in previous “mother” films.

Overall, Mother of Tears is a mixed bag. It has its boring moments, but it’s also a good example of Italian Horror’s love for grandeur and charming carelessness toward what is considered logical or politically correct. Those comparing it to films of Argento’s golden era need to stop living in the past. Mother of Tears has its great moments and not so great moments and it is neither a failure nor a rousing success. If you’re a fan of 80s “godfather of gore” era Fulci and take into account the 21st century’s distinct lack of anything Giallo/Italian Horror-related, Mother of Tears is worth a watch.

Mother of Tears
I think Dario Argento’s “Mother of Tears” operates under the adage that some things are better left buried. Thirteenth century artifacts are uncovered inside an urn found buried with the crypt of a man during the excavation of a church where bodies were being “relocated”. The moment the urn is opened, an evil is released which will almost immediately unleash upon Rome a possible apocalypse as the Third Mother prepares for total domination of the world. “Chaos. Blood. Tears.” And, does the city come unglued! A woman tosses her baby off a bridge (yeah, Dario shows the baby’s head slam into stone while hurling to its doom!), violence erupts in the streets, with the carnage tearing Rome apart, a sickness that is spreading like the plague. The moment the urn’s candlewax seal (the priest is responsible for the seal, attempting to keep its contents sealed until an archaeologist named Michael could examine them, his expertise in “esoteric science” appropriate for determining the purpose for the artifacts) is broken, terror awaits society, unprepared for the evil that will produce a corruptive influence on all who fall under the Third Mother’s spell. It seems that Asia Argento’s “student of archeology” is immune to the power of the Third Mother, but how will she be able to stop her before the madness that is enveloping the world becomes to vast to contain? Mater Lacrimarum, the third witch, is the Mother of Tears, considered the most beautiful and cruel of the three (and the other two were pretty damn evil), and as long as the “talisman” (a cloth that drapes over the gorgeous naked body of Moran Atias) is liberated from the seal, evil will reside. The screenplay (co-written, and based on a story, by Dario Argento) is busy, to say the least, with Asia’s Sarah Mandy actually the daughter of a “white witch” (played by her mom, and the former lover of Dario, Daria Nicolodi), herself blessed with certain powers (like invisibility). “Mother of Tears” is all over the map; it is really demented. The violence is of the preposterously extreme variety. I mean eyes are gouged out, a face is crushed by a door, a woman is vaginally skewered by a sword, one victim is strangled (after being disemboweled) with her own intestines, and poor priest Udo Kier is bludgeoned repeatedly in the skull with a hatchet! There’s a monkey that seems to guide members of Lacrimarum’s henchmen—their eyes, so to speak—and children are constantly butchered (one scenes shows the hand of a Lacrimarum follower reaching into the belly of a dead child, another shows a partially devoured child corpse!). This movie is a bloody mess. But, it all makes sense because Mother of Tears is the most sadistic and vile witch of her trio so the slaughter and plague of violence derives from her desire for total anarchy, death, and destruction. My complaint concerns the CGI and “ghost” shenanigans with Nicolodi, helping her daughter escape peril and capture; it looks and feels tacky. Dario follows his daughter as she enters the ruins of the Rome manor, built by an alchemist responsible for the other two (built in New York for Inferno, and Freidburg, Germany for Suspiria), eventually descending into the hidden chamber to face her enemy. The ending is pure Corman, a bit disappointing as the collapsing structures look less impressive thanks to cheap computer graphic effects. The story includes a lesbian psychic who teaches Sarah about contacting her mother and the archaeologist/scientist, Michael (Adam James), being pursued by screeching girls with giant hair and thick eye liner (they look like they stepped right out of the 80s). Dario just hurls the kitchen sink at you. Bottom line is that this film has continued to divide the Argento faithful. While I consider it a lot of grisly, and over-the-top fun, others think Argento has forever lost his mojo. All I know is that I cringed and laughed at a lot of the graphic violence because Argento has no barometer in regards to “how far to go”. Everyone is fair game in his movies.

Other Information:

Original Language it
Runtime 1 hr 42 min (102 min), 1 hr 42 min (102 min) (unrated) (USA), 1 hr 38 min (98 min) (Toronto International) (Canada), 1 hr 30 min (90 min) (DVD) (Argentina)
Budget 3500000
Revenue 3119957
Status Released
Rated R
Genre Drama, Horror, Thriller
Director Dario Argento
Writer Dario Argento, Jace Anderson, Adam Gierasch
Actors Asia Argento, Cristian Solimeno, Adam James
Country Italy
Awards 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory Cinecittà Laboratories, Roma, Italy
Film Length N/A
Negative Format 35 mm (Kodak Vision2 500T 5218)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic)