Rarely do movies have a happy ending when they follow the journey of an obsessed artist. In recent years, movies like Black Swan, Jiro Dreams of Sushi, Whiplash, Steve Jobs, and Phantom Thread have taught us that true auteurs must be cold, antisocial, inflexible in their beliefs, and devoted to their craft to a fault. These films validate our suspicions about the enigmatic “artist” - that those who strive for perfection cannot succeed in their personal lives. And this idea extends beyond those whose pursuits are specifically artistic - the greatest athletes, the most successful CEOs, the top lawyers and doctors and politicians - all have lives culturally steeped in tragedy, wherein their achievements are only made possible through single-minded and ultimately self-destructive ambition. Why is this how we perceive these figures? Is there truth to our idea of success? Does it humanize these larger than life people? Does it somehow make us feel better, knowing that those who have surpassed us in their careers are secretly far more miserable?
While Martha embodies this trope of a great artist, her arc in Mostly Martha is meant to break down concepts of success. She begins the film as an obsessed artist - professionally at the top of her game, but personally as mature as the niece she inherits. Her journey is that from a woman consumed by work to a woman who sees the value in other people. The irony of Martha’s craft is that in her dedication to cooking great food, she has forgotten one of the greatest functions of food - how it brings people together. The movie portrays food as an expression of love - romantic love, sexual love, and familial love. When Martha’s words fail her, as they so often do, she uses food as a form of communication. The film is most successful when it dismantles notions of success by showing a person who is capable of achieving greatness without sacrificing personal happiness.



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