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Worldwide North America United States New York State New York Movie moms: The 50 most classic movie mothers of all time
We rank the sweetest, saltiest and most downright toxic moms to ever grace the big screen.
By David Fear, Joshua Rothkopf and Keith Uhlich Posted: Sunday May 5 2013
Mother's Day is upon us—don't get caught in a shame spiral by not sending her some flowers, a nice card, even a phone call. (We have sweeter ideas.) Having spent many hours considering the most classic movie moms of all time and ranking them, we're well aware of the ramifications of disobeying Mother. Sometimes they involve more than harsh words. So please excuse us if this list skews toward the monstrous: We love our crazy matriarchs as much as the calming ones. You'll find plenty of honest-to-goodness nurturers on the countdown, too, but if your favorite movie mom didn't make the cut, please strike a stern tone and nag us in the comments below. Not that our mothers nag us; that was just a clever figure of speech.
Sandra Bullock won an Oscar for her portrayal of a football mom who takes in a hulking, homeless African-American teen, and turns him into a gridiron all-star. Lest you think this is just a stock nurturer role, watch for the scene where she rips into some local gangstas; this grizzly mama has claws.—David Fear
Mary Lee Johnston is everything you wouldn’t want in a legal guardian: demanding, cruel, physically and sexually abusive. Yet Mo’Nique’s furious, no-holds-barred performance in Lee Daniels’s melodrama about an inner-city teen rising above her horrible home life helps us to glimpse the pitiable person beneath the monster.—Keith Uhlich
Just because this film comes under the signature of trash king Roger Corman doesn’t mean it lacks for virtues, particularly the force-of-nature turn by Shelley Winters in the title role. Her criminal children (including a young Robert De Niro as a junkie) are a source of pride; she even bakes them cookies.—Joshua Rothkopf
We’ve all entertained the thought, but Danny DeVito’s black-comedic twist on Strangers on a Train’s I’ll-kill-yours-if-you-kill-mine plot gives hilarious form to our matricidal urges. As the parent from hell with a target on her back, Oscar nominee Anne Ramsey is the perfect mix of spittle-inflected rancor and leery-eyed maliciousness.—Keith Uhlich
An elderly woman (the amazing Kim Hye-ja) plays amateur detective when her dimwitted son is accused of murder—and gets more than she bargained for. South Korean filmmaker Bong Joon-ho’s thriller starts off as a mystery and slyly turns into a tragic ode to parental devotion, one in which motherhood trumps morality.—David Fear
Even a robot boy deserves a mother’s love, but it isn’t easily won in Steven Spielberg’s heartrending sci-fi fantasy. Frances O’Connor lends many vulnerable shades to the adoptive guardian who rejects her surrogate cyborg son. The wrenching sequence where she leaves him behind in the woods is a harrowing abandonment nightmare come to life.—Keith Uhlich
For the most part, Jewish mothers don’t loom so large in Woody Allen’s work. (His therapists may say otherwise.) But when Allen does go there, he goes big, with this Freudian riff about a lovably nagging mom (the peerless Mae Questel) who scolds her son—and the whole of Manhattan—from over the skyline like a whiny Godzilla.—Joshua Rothkopf
The 1976 original lures our nostalgic hearts, but this 2003 remake was a rare example of Hollywood improving on the source. Much of the success should be attributed to a ferociously funny Jamie Lee Curtis, underrated as a comedian, who cuts loose with snarling teenage abandon. She even got some awards buzz for her performance.—Joshua Rothkopf
Forced to take care of the family solo when her husband is sent to prison, Cicely Tyson’s Depression-era sharecropper shoulders the burden with dignity and fortitude. It’s as graceful a portrayal of an African-American mother fighting the injustice of a Jim Crow–era South as cinema has ever delivered.—David Fear
Greer Garson was so identified with this film’s saintly WWII-era mother that she later did Miniveresque public appearances to help sell the war effort. Never mind that she eventually married Richard Ney, who played her son (!); the role forever made Garson a symbol for every Blitz-blasted British mum who kept the home front intact.—David Fear
The title alone triggers spasms of maternal hysteria and the movie doesn’t disappoint: Supermom Sally Field warily heads to Iran with her foreign-born husband and their preteen child. But after her spouse displays some scary Islamofascist tendencies, Field’s race to escape begins—and she’s got some baggage.—Joshua Rothkopf
Stanley Kubrick’s powder-keg adaptation of the Nabokov novel had tongues wagging for its sexual content, yet Shelley Winters’s pitch-perfect portrayal of a social-climbing suburban mom turned out to be the most cutting thing about it. Try as she might, Charlotte Haze can’t ignore the tawdry drama playing out in her living room.—Joshua Rothkopf
Shirley MacLaine’s brassy buttinsky of a mother is a loving nuisance throughout the troubles of her alternately adoring and exasperated daughter (Debra Winger). The emotions between the two deepen as this classic weepie winds its way to a devastating climax that would force even the most dispassionate parent and child into a tight embrace.—Keith Uhlich
Most of us think our moms are super; Holly Hunter’s crime-fighting Elastigirl actually is superheroic. As part of the do-gooder family in this Pixar gem, Hunter only wants a normal life for her kids—but she’s not afraid to use her stretchy limbs or become a human parachute when their safety calls for it.—David Fear
Accidental time-traveler Michael J. Fox has plenty of headaches: How to get back to 1985 while passing for an everyday ’50s teen? The last thing he needs is to meet a youthful version of his dowdy mother (Lea Thompson, excellent in both eras), who calls him “Calvin” because of his underwear and lays the flirtation on thick. Eww.—Joshua Rothkopf
The tag-team parenting of Julianne Moore and Annette Bening in this understated lesbian-mom drama is so relaxed and natural, it’s hard to single out one of the actors as tops. But we give the edge to the hardworking Bening, consumed with doubt, anxiety and justifiable rage as her character’s happy home unravels.—Joshua Rothkopf
From home movies, photographs and answering-machine messages, Jonathan Caouette stitches together this intensely personal documentary about his painful upbringing. At the center of the emotional whirlwind is Caouette’s mentally ill mother, Renee, whose frequent schizophrenic outbursts push her son away, only to draw him devotedly back.—Keith Uhlich
A bemused, no-nonsense presence in many of her son’s movies, Catherine Scorsese injects a lovable strand of mystification in stories that often race ahead. We cherish her in Marty’s gangster classic, as she throws together an impromptu midnight feast, lends her son a butcher knife and breaks balls: “Why don’t you get yourself a nice girl?”—Joshua Rothkopf
Joan Bennett’s middle-class housewife is so concerned for her daughter that she disposes of the corpse of the adolescent girl’s shady older boyfriend, an accidental fatality. Then James Mason’s smooth-talking blackmailer comes on the scene and Max Ophüls’s film noir deepens into a portrait of a lady who will do anything to maintain the familial status quo.—Keith Uhlich
We tip our hats to Louise Beavers in the 1934 version, but it’s Juanita Moore’s portrayal of a long-suffering African-American maid in Douglas Sirk’s remake that truly stuns us. The way she radiates love for the passing-for-white daughter who shuns her puts the heart in heartbreaking.—David Fear
Sad-sack novelist John (Albert Brooks, who also directs) decides to move back in with retired mom Beatrice (Debbie Reynolds). She’s always ready to irritate him with criticisms, suggestions and too-intimate details, but there’s something undeniably loving in her aggravating demeanor—you want to choke her and hold her close at once.—Keith Uhlich
Plenty of parents don’t approve of their child’s girlfriend or boyfriend. Then there’s literal wicked witch Marietta Fortune (Diane Ladd) in David Lynch’s hard-R riff on The Wizard of Oz. With her Southern-fried outfits and psychotic outbursts (that incredible lipstick-as-Kabuki-mask freak-out), she’s a memorably twisted picture of overbearing motherhood.—Keith Uhlich
Chipper suburban housewife Beverly Sutphin (Kathleen Turner) is all apple pie on the surface—and all scissor-stabbing kook underneath—in John Waters’s delightfully vicious satire. Criticize her children, forget to buckle your seatbelt or wear white after Labor Day, and you’ll unleash the mother of all psychos.—Keith Uhlich
A former socialite turned shut-in, “Big Edie” (as she’s nicknamed) is the nagging older half of the mother-daughter act that makes up this iconic cinema vérité documentary. Verbally sparring with middle-aged child “Little Edie” while turning a blind eye to their decrepit living situation, she’s a hypnotically disturbing portrait of a parent gone to seed.—Keith Uhlich
Hearing a hunter approach, the mother of Disney’s titular fawn urges him to flee, running beside the scared white-tailed deer. “We made it!” Bambi cries upon reaching the woods, until the youngster realizes he’s alone—a traumatic moment that’s taught generations of underage viewers about parental sacrifice.—David Fear
A porn star’s rise and fall hits an early peak of devastation in a suburban California bedroom, as Joanna Gleason tears apart her son’s lifestyle, ripping down his posters and calling him a loser. “Please don’t be mean to me,” Mark Wahlberg cries (still his finest moment). Soon, he’ll bolt from the house and never come back.—Joshua Rothkopf
This seminal franchise is chock-full of maternal figures, from Sigourney Weaver’s badass nurturer Ripley to the USCSS Nostromo’s computer (named, aptly, Mother). But for our money, nobody beats this film’s Xenomorph queen—a fearsome, egg-spouting creature that set the standard for modern sci-fi mom-strosities.—David Fear
Yes, Farrow spends most of Roman Polanski’s urban nightmare as an expectant mother-to-be. But once she gets over her initial shock—her newborn has “his father’s eyes,” after all—watch how the ultimate baby-bump horror film becomes, oddly, a tribute to maternal instinct triumphing over all. Even if your kid is a real devil.—David Fear
When her paroled son, Tom, comes home, she’ll be there. When her family needs a backbone, she’ll be there. And when the time comes to haul everybody out West, why, she’ll be there too. Jane Darwell turns John Steinbeck’s Ma Joad into the definitive Dust Bowl matriarch: steadfast, optimistic and determined to make a better life for her kin.—David Fear
“You’ve done some bad things, sweetie,” purrs Jackie Weaver’s queen of the underworld to a potential enemy, and the message is clear: Keep your hands off my criminal brood. Spend a little time with this Australian version of Ma Barker and you understand just how much she loves her bank-robbing boys—maybe a little too much.—David Fear
The take-no-shit mobster’s moll at the center of John Cassavetes’s crime drama isn’t interested in being anyone’s parental figure. Then she meets a six-year-old Puerto Rican boy who some bad guys want out of the way, and courtesy of Gena Rowlands, we see that even the toughest snub-nose-wielding dame has a hidden tender side.—David Fear
To the film’s disservice, Sally Field’s Oscar speech (“You like me!”) is what’s remembered most these days. Take some time to set the record straight: Few onscreen widows keep it together as strongly as Field’s Texas matriarch, and the movie vibrates with stirring toughness. Our hunch is that you really will like her by closing credits.—Joshua Rothkopf
Carrying difficult material on sturdy shoulders, the great Tilda Swinton plays the guilt-ridden mother of a high-school psychopath (Ezra Miller) who destroys a community’s future. The movie plays out in complex chronology, as ominous moments of child rearing alternate with nightmarish scenes from a red-hued aftermath.—Joshua Rothkopf
Don’t go head-to-head with this Massachusetts mauler, or you’ll get the taste pounded out of you—and no, we’re not referring to Mark Wahlberg or Christian Bale. Boxing manager Melissa Leo beats up her husband, disciplines frizzy-haired intruders (“What are you doing opening your mouth in my kitchen?”) and fiercely protects her turf.—Joshua Rothkopf
Abuse begets abuse in this early David Cronenberg chiller about Nola Carveth, an ill-treated woman who, despite the best psychotherapeutic efforts, bears a brood of killer children. As the institutionalized, extremely disturbed matriarch, Samantha Eggar is gloriously unhinged, especially after she reveals what she’s hiding underneath her dress.—Keith Uhlich
Fans of her kooky mom on TV’s The Dick Van Dyke Show wouldn’t recognize the human iceberg that Mary Tyler Moore became in Robert Redford’s Oscar-winning drama. The ultimate chilly WASP, her Beth Jarrett is a woman who mourns the loss of a son by shutting down emotionally—and failing to provide comfort for the disturbed child who still lives.—David Fear
Cher won raves for her portrayal of “Rusty” Dennis, the saucy, drug-addicted motorcycle mom of a skull-deformed teenage son played by Eric Stoltz. Peter Bogdanovich’s heartstring-tugging drama doesn’t shy away from Rusty’s flaws even as it exalts her tough-as-nails devotion to her child’s well-being.—Keith Uhlich
Just because the transvestite star of John Waters’ trashterpiece is the filthiest person alive doesn’t mean she’s a bad mother: Divine’s parody of a ’50s melodrama heroine certainly loves her son, albeit in a way one usually associates with Oedipus. Still, she’ll do anything to protect her family’s good name—including eating dog shit. (No, really.)—David Fear
While on a job in Los Angeles, con artist Anjelica Huston reenters the life of scammer son John Cusack and proceeds to wreak havoc. The unabashed nastiness of this parent-child relationship—marked by emotional coldness and a few perverse expressions of love (kisses held long past properness)—is one of this modern noir’s many ballsy traits.—Keith Uhlich
Irrevocably changed by her first cyborg-from-the-future encounter, mankind’s savior Sarah Connor (Linda Hamilton) has become a stunningly buffed-up, gun-toting survivalist in James Cameron’s blockbuster sequel. Cast one wrong glance at her boy, and it’s hasta la vista, baby.—Keith Uhlich
By all means, see this Japanese mom-sterpiece, but maybe not on Mother’s Day—you’ll run the risk of seriously alarming the lady of the day with your tears. Kenji Mizoguchi’s feudal tragedy is, to many, the most emotionally ruinous movie ever made. It begins in catastrophe with a family torn apart, the father exiled and, sometime later, the mother, Tamaki (Kinuyo Tanaka), carried off, her two children sold into slavery. The plot then becomes a survival story, as hope yields to more practical modes of getting by, like forgetting and brutality. But as years pass, there is word of Tamaki’s legend and a daring quest begins. We’ll say no more, except to note Mizoguchi’s unerring instinct for depicting strong (if compromised) women. The time we have with our mothers may be cut short, but, as this film shows, they mark us forever.—Joshua Rothkopf
There were evil females in Disney toons before this animated retelling of the Charles Perrault fairy tale; who could forget the vengeful queen from Snow White and the Seven Dwarfs? But it’s this heartless harridan of a stepmom that really sets the template for the Mouse House’s horrible mother figures. She’s a permanently scowling woman who enslaves her late husband’s daughter, goads her own offspring to rip Cinderella’s makeshift gown off her body (a rape by any other name) and eventually locks her in a tower to keep her from her one true love. This was the flip side of the kind, loving mom from children’s movies, and the character’s nightmarish parody of Mother as cruel taskmaster would color every happily-ever-after princess story from then on.—David Fear
We live in the Golden Age of Streep, in which film after film, America’s most accomplished actor seems unable to hit a false note. But hard as it is to fathom, there was a time when Meryl had to prove herself, and even after supplying sharp supporting work in late-’70s triumphs like The Deer Hunter, Manhattan and Kramer vs. Kramer, there was still a mountain for her to climb. Sophie Choice was that breakthrough, the elusive peak attained. Most of the film takes place in a Brooklyn boardinghouse, where the title character (Streep), a Polish Holocaust survivor; her manic lover (Kevin Kline); and their neighbor, a young writer (Peter MacNicol), come to a kind of familiarity. Slowly, the movie begins to probe the cracks of their intimacy, and a secret tears the trio apart. Sophie’s choice, as we learn in a powerhouse climax, is no choice at all—it’s the apocalypse to any parent. Essentially, we bear witness.—Joshua Rothkopf
Italian moms—those loud, smothering, how-come-ah-you-no-eat-enough caricatures—have always been an easy go-to for filmmakers. As played by the larger-than-life Anna Magnani, the title character of Pier Paolo Pasolini’s second feature is certainly a force of nature. But now that she’s almost done paying her dues as a streetwalker (like all good Catholics, Pasolini makes this heroine a Madonna and a whore), she can finally give he son the good life he deserves. We know things won’t turn out as planned, but that doesn’t stop Magnani from investing a rainbow of emotional shadings in what could have been a stereotype. This is the nation’s everymom, transformed from a stock character into a tragically intimate example of familial dysfunction, Italian style.—David Fear
Barbara Stanwyck frequently cited her title role in this Samuel Goldwyn–produced melodrama—a true no-dry-eye-in-the-house affair—as a personal favorite. She’s a loudmouthed working-class woman who marries and has a daughter with a down-on-his-luck high society man (John Boles). But as her family’s fortunes shift, Stella finds her plebeian instincts (not to mention her terrible taste in clothing) hampering her child’s chances at a more refined life. Sacrifices must be made to stop all the disdainful stares and barely concealed whispers from others—the scene where a garishly made-up Stella parades around a
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