“Babel”
“Babel” is the third and final film in a disconnected trilogy of often excellent films by Mexican Director Alejandro Gonzalez Inarritu. Joining him for all three are his scribe Guillermo Arriaga and cinematographer Rodrigo Prieto. Viewers who have seen Inarritu’s previous films “Amores Perros” and “21 Grams” will instantly recognize the template. A central tragedy is explored from different angles. The timeline jumps back and forth. Once again the film has a beautiful documentary look with almost constant handheld and a very identifiable rhythm of shots and editing. And as in the first two films, the template is almost flawlessly executed. The problem lies with a story that, in reaching across the globe, and reaching for a message (here miscommunication; across languages and literal, but also silence between loved ones) doesn’t quite make us care, and perhaps it is also that feeling of been here done that, but “Babel” is ultimately the weakest of the three films, albeit still a good enough film, worth a look.
The actors, a mix of big name professionals, and non-actors, once again inhabit their characters with a simple realness that reflects the entire strategy of the film. This time they include Brad Pitt and Cate Blanchett as a couple attempting to fix a broken relationship with a trip to Morrocco. Things go from bad to worse when Susan (Blanchett) is shot on a tour bus. The shooter was a young boy, a Moroccan villager named Ahmed (Said Tarchani). He and his brother Yussef (Boubker Ait El Caid) didn’t quite know what they were doing when they shot at the tour bus with the rifle that his father just bought from a neighbor, trying to figure out if the bullets would really go three kilometers. Back in San Diego, the tragic shooting forces Richard and Susan’s maid Amelia to bring their children to her son’s wedding in Mexico. She is driven there by her devil may care nephew Santiago (Gael Garcia Bernal). He doesn’t think bringing them is the greatest idea, but he doesn’t really hesitate. Meanwhile, in Japan, Chieko (Rinko Kikuchi), a deaf mute girl, struggles with the aftermath of her mother’s suicide, and struggles to connect with her father. Eventually, she and her father will have a connection to the Moroccan event. So there is a bit of the story, I won’t give it all away.
And as I said, this is all very well done. In particular the cinematography and style of shooting is appealing. The scenes introducing us to Mexico as we cross the border thru the eyes of the lily white children in Amelia’s care are intoxicating. The Mexican wedding of Amelia’s son is even more fun. And so we can travel in this film from Tokyo to Morocco, to Mexico and it is appealing, but it’s in the story that we don’t quite get enough. Perhaps it’s because we have already been here. “Amores Perros” explored the central tragedy of a car crash and left no stone unturned; the characters were all very engaging and their connections were obvious. “21 Grams” brought things inward, focusing on three desperate souls in what was a very good and perhaps all time most depressing movie. So by the time we get to “Babel,” which adds an international element, we have already seen it.
Most of the tragedies in this film are well explored, and I like the fact that sometimes the connections between the characters are jaggedly tenuous, but I just don’t very much care. Pitt and Blanchett are the most un-examined. There is a reference to the modern day terrorism paranoia as the shooting is perceived at first as a terrorist act. Pitt and Blanchett act well enough, but their storyline is rather predictable, and the arrogance of the other tourists on their tour bus is at times a stretch. The central theme of communications across cultures isn’t successful. It’s most obvious in Japan with Chieko who can’t communicate with anyone, but none of this goes anywhere. It was a noble effort, but one that fell short. So I’m glad that Innaritu and crew will move beyond this template for their next film, because three times was a bit too much.
Story: B
The story of the maid is the best. Blanchett and Pitt seem a superstar distraction. The Moroccan children’s doomed plight is also engaging.
Acting: A
Very good all around. I couldn’t imagine poor acting in a film like this.
Visuals: A
Beautiful, a gritty, realistic style that layers it’s environments on the viewer.
Originality/Innovation: C+
Compared to everything else out it is original. Compared to Innaritu’s last two films…plus an attempted righteousness that ends up hollow?
Enjoyability Grade: B
The sum of many great parts is somehow not quite a whole.
Overall Grade: B -
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