Babel (2006)

User Rating:

7.7/10   

Director:

Alejandro González Iñárritu

Writers (WGA):

Guillermo Arriaga (written by)
Guillermo Arriaga (idea) ...

Release Date:

10 November 2006 (USA)

Genre:

Drama

Tagline:

If You Want to be Understood...Listen

Plot:

Tragedy strikes a married couple on vacation in the Moroccan desert, touching off an interlocking story involving four different families.

Plot Keywords:

Rifle | Morocco | Mexico | Wedding | American

Awards:

Won Oscar. Another 27 wins & 75 nominations

Cast

Brad Pitt	...	Richard Jones
Cate Blanchett	...	Susan Jones
Mohamed Akhzam	...	Anwar
Peter Wight	...	Tom
Harriet Walter	...	Lilly
Trevor Martin	...	Douglas
Matyelok Gibbs	...	Elyse
Georges Bousquet	...	Robert
Claudine Acs	...	Jane
André Oumansky	...	Walter
Michael Maloney	...	James
Dermot Crowley	...	Barth
Wendy Nottingham	...	Tourist #1
Henry Maratray	...	Tourist #2
Linda Broughton	...	Tourist #3

Also Known As:

Babel (France)

MPAA:

Rated R for violence, some graphic nudity, sexual content, language and some drug use.

Runtime:

143 min

Country:

France | USA | Mexico

Language:

English | Arabic | Spanish | Japanese | Japanese Sign Language | Berber | French

Colour:

Colour

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital | DTS

Certification:

Ireland:16 | Finland:K-15 | Canada:18A (British Columbia) | Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva) | USA:R (certificate #42677) | Sweden:11 | Canada:13+ (Quebec) | Canada:14A (Alberta/Manitoba/Ontario) | UK:15 | Denmark:15 | Norway:15 | Australia:MA | New Zealand:R16 | Singapore:M18 | Iran:18+ | Germany:16 | Hong Kong:IIB | Brazil:16 | South Africa:16 (LN) | Portugal:M/12 | Argentina:18 | South Korea:18 | Malaysia:18PL | France:U | Philippines:PG-13 (MTRCB) | Japan:PG-12 | Netherlands:12 (DVD rating) | Netherlands:12 | Czech Republic:15 | Iceland:16

Filming Locations:

Azabu-Juban, Tokyo, Japan

Company:

Paramount Pictures

Trivia:

Director of Photography Rodrigo Prieto encountered a problem while filming a track shot where Richard and the villagers carry the wounded Susan to the top of a steep hill: he tried running backwards to get the shot, but each time he tripped, often falling. However, Director Alejandro González Iñárritu ruled out using a Steadicam and insisted on hand-held camera work. Finally, Key Grip Joseph Dianda came up with a solution: Prieto filmed the shot while seated in a hotel chair carried by four grips. The resulting footage became known to crew members as "The Joey Chair Shot".

Goofs:

Crew or equipment visible: After the girl takes her thong off she walks back up to the table with her friends. In this shot you can see the reflection of the steadicam arm, operator and an assistant in the mirror in the top left area of the screen.

Quotes:

[first lines]
Hassan: It's almost new. Three hundred cartridges. The guy who gave it to me said you can hit as far as three kilometers.

Movie Connections:

Referenced in "Robot Chicken: Slaughterhouse on the Prairie (#3.13)" (2007)

Soundtrack:

Smile.

Four stories. Three countries. One powerful film.

If you – like me, and so many others – found 'Crash' (2005) offensively finger-wagging and dumb (its inherent message was: "Racism is bad."), Alejandro González Iñárritu's Babel will make it up to you with refreshing intelligence, respect for cultures and crisp acting. The plot outline is difficult to do justice in one sentence but much like Crash it explores culture clashes in life by navigating multiple interweaving story lines.

One of these is the story of the married couple Richard and Susan Jones, played by Pitt and Blanchett, who travel to Morocco 'to get away'. Theirs is a remarkably complex and bruised marriage at first but once the plot gradually unfolds the root of their problems becomes apparent. What is most remarkable about their storyline is that Brad Pitt actually emotes as an actor (although is he is grossly facilitated by heartfelt circumstances) and that Cate Blanchett regrettably never gets the chance to shine in her performance.

Cut to two young Arabic boys in the barren craggy hills of the outback of Morocco. They are brothers whom have just been given a rifle by their father to protect their goats and now they are having fun in learning how to fire the weapon. There is refreshing gritty honesty in the portrayal of this storyline – from the dirt and heat on their clothes to the realistic dialogue – and many heartrending moments due to the aforementioned. But be warned, this is no glossy or romantic depiction of North Africa...

Another storyline takes place in colourful Tokyo in Japan, detailing the teenage life of a deaf girl called Chieko. Hers is arguably the most compelling story especially in terms of sheer fun to be had. Being a teenage girl is hard enough and Chieko finds that her disability distances her from other people – the boys she is interested in looks at her like she is a monster – and frustrated and desperate to be loved, she indulges in teenage clichés like partying and drinking in the modern mess that is Tokyo. Here I found the single most vivid disco sequence completely sucking me in and not letting go until the fast-paced euphoria of Chieko finally subsided. There is absolute gold to be found in this Tokyo story.

Finally, the last storyline takes place in Mexico and the main character is a woman called Amelia (Adriana Barraza), who also happens to be Richard and Susan's nanny. When her son is getting married in Mexico and she cannot get a day off, she takes the kids with her across the border. Big mistake. I'm sure many will be able to identify with the sprawling surge of Mexican culture at the wedding and indeed the music and pace made this storyline both beautiful and enjoyable to follow. It is evident that director Alejandro González Iñárritu feels most at home in this setting and as a result, the story shines and its characters emote.

Although there is a lot to keep track of in 'Babel' owing to its many story lines, there is such a fluent and seamless intercutting of these segments that it is impossible not to be entranced in the entirety of the film. There is a wealth of juxtapositions of culture to be found and much fun and visual stimulation to be had because of it. From the dramatic barren landscapes of Morocco to the fast-paced teen world of Tokyo, Babel treats contrast with remarkable sensitivity and skill of the subject matter. In other words, it gives a nonsentimental yet compassionate insight into the lives of different people whose stories orbit around the kaleidoscope that is 'Babel', sewn together by unsparing and uninhibited performances.

Better yet, you get so caught up in each story that when it cuts to make room for the next you feel almost a little offended – and that is good film-making. Babel, given its content, is everything Crash was not. Finally, it offers a satisfying and humble conclusion to an otherwise epic film. Although I cannot help but remark, Iñárritu, come on – you could have made a good movie in less than 2½ hours... *hmph*

8 out of 10