Babylon Review – Exploring the Tapestry of 1930s Hollywood

Following the impressive success of “Whiplash,” Damien Chazelle swiftly rose to prominence in the Hollywood industry. Who could have thought that such an intricately crafted film — encompassing sublime acting performances, captivating cinematography, and a delightful, pulsating musical heartbeat — would have been birthed by a then-unknown, youthful director of just 29, who seemed to have sprouted out of nowhere?

His tremendous debut left cinema aficionados around the globe on tenterhooks, eagerly waiting to see what he would present to us next. Would his movie featuring the remarkable duo of JK Simmons and Miles Teller prove to be a singular flash of brilliance, or were we on the cusp of welcoming a shining new star into the pantheon of influential directors?

Rumors were rife that Chazelle had originally planned “Babylon” to follow his debut, yet producers felt that such an ambitious undertaking might have been premature for him at that stage in his career. Instead, they suggested he channel his energies into another project. The result? The enchanting “La La Land,” a musical gem that, even if for a fleeting moment, was recognized as the finest movie of the year. This cinematic achievement solidified the fact that Chazelle indeed had a masterful grip on his craft, and that his films demanded careful attention and deserved appreciation from a discerning distance.

Although my admiration for Chazelle slightly ebbed after the somewhat lackluster series “The Eddy,” where he had a creative stake, the news of him embarking on another cinematic journey, this time with the illustrious Brad Pitt and Margot Robbie, rekindled my enthusiasm. Like a magnet attracting iron filings, the mere thought of this promising collaboration meant that I couldn’t merely stand by uninterested. It became evident that this new project held the potential to shine a new, exciting light on Chazelle’s directorial journey, promising an engaging cinematic experience.

A Character Study of Hollywood: Babylon Review

“Babylon” (2022) presents a vivid, chaotic tapestry that encapsulates both the charm and the transformations, both beautiful and grim, that punctuated Hollywood’s landscape during the early 1930s. What’s unique here is that Hollywood itself emerges as the principal character. The narrative is essentially a character study of the film industry’s golden age, often referred to as the Dream Factory, with its captivating highs and disheartening lows, painted across a canvass of sex, drugs, and decadence in abundance.

Characters such as Jack Conrad (played by Brad Pitt), Nellie LaRoy (Margot Robbie), Manny Torres (Diego Calva), and Sidney Palmer (Jovan Adepo) function more as conduits, or instruments, for telling this larger tale. Their stories may often be melancholic, reflecting the struggles of their era, yet they also shimmer with moments of levity, painting a full picture of life in the industry.

Stories within a Story: The Human Experiences

Over the course of a riveting three hours, each character travels through their individual arc, yet none stands out as the most significant. Rather, they all contribute their notes to the symphony that is Hollywood. Among these characters, the ambitious Spaniard, Manny, emerges as an embodiment of the viewer’s curiosity and aspirations for Hollywood. He’s introduced as the caretaker of an elephant, meant for a grand, extravagant party where inhibitions are thrown to the wind, and drinking, drugs, and intimacy are the order of the day.

In the midst of this revelry, Manny’s path crosses with a strikingly beautiful blonde, Nellie, who is having a bit of trouble sneaking into the party. Their tumultuous relationship kickstarts with Manny aiding Nellie to bypass security, a chance encounter that eventually propels her into the limelight of stardom.

Meanwhile, among the party’s guests, we encounter Conrad, a silent film superstar, and a perennial crowd favorite. Known equally for his on-screen charisma as for his off-screen alcoholism, it’s Conrad’s journey home that paves the way for Manny to make his foray into the world of cinema.

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A Story of Talent Underplayed?

Completing the ensemble is Sidney, a supremely talented black jazz musician. Of all the characters, Sidney’s story is the least explored on screen. From his introduction to his conclusion, Sidney’s narrative arc feels somewhat underexposed. However, this might be a deliberate choice by the director, serving to reflect and underline the broader story’s progression and the trajectory of individual characters within the Hollywood ecosystem.

“Babylon” is a poignant yet vibrant tale that uses its cast as lenses to explore and reflect the complex, often tumultuous world of Hollywood in the 1930s. The real star here is Hollywood itself, and the characters are but satellites in its orbit, illuminating its fascinating, chaotic story.

The Visual and Musical Canvas of “Babylon”

“Babylon” opens with an intense, nearly half-hour-long sequence before the film’s title even graces the screen. This extended opening frames the extravagant debauchery we’ve just witnessed, almost as if issuing a forewarning that the revelry we’ve seen is merely the tip of the iceberg. The entire scene is chaotically vibrant, introducing us to the plethora of characters, unraveling minor anecdotes amidst the party, and generously weaving music throughout.

The sonic backdrop varies from classic jazz melodies to whimsical tunes, all playing against a backdrop of sensual intensity. The characters glisten with sweat in the sultry atmosphere, the smoky tendrils of their cigarettes hanging heavy in the air, enhancing the density of the scene. However, as the spectacle unfolds, we start to feel a sense of overindulgence, an uncomfortable overload of sensory stimulation that veers more towards revulsion than excitement.

Chazelle masterfully punctuates this sensation with a restless camera, darting from one place to another, from character to character, and event to event. The scenes are meticulously designed, their long takes are well planned and their execution must have been a Herculean task for the entire crew.

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Cinematic Chaos with a Rhythm

The initial part of the film is densely packed with these complex shots. One of the most striking sequences occurs post-party, during the first day of shooting. The camera guides viewers through multiple movie sets piled haphazardly on top of each other, each one bustling with directors and assistants trying to reign in the actors. Extras are striking at the fences, and at the heart of this whirlwind, Nellie is poised to make her debut scene. It’s utter chaos, yet there’s an underlying rhythm and spirit that makes it engaging.

The Sonic Character: Justin Hurwitz’s Music

Consistent with Chazelle’s signature style, the film’s music, composed by Justin Hurwitz, becomes a vital character in the story. His jazz compositions, as always, are a marvel, beautifully underscoring the visual magnificence and disorder while maintaining a steady rhythm for the unfolding events. However, it’s the recurring main theme of the music that is particularly striking. It’s simple, hence easy to recognize and latch onto, yet depending on the arrangement and the context in which it’s used, it oscillates between inducing a sense of positivity and an undertone of melancholy and sadness.

“Babylon”: A Sordid Ode to Tinseltown

The cast of “Babylon” undoubtedly pushes beyond the boundaries of expectations with their performances. Margot Robbie and Diego Calva particularly stand out in this regard. Robbie embodies the character of Nellie with such poise, encapsulating both her bravery and vulnerability, exposing her internal conflicts and frustrations. On the other hand, Calva brings to life Manny’s ambitious assistant, a character eager to seize every chance to amass a fortune that might ensure his survival in the unforgiving world of Hollywood. These characters navigate a tumultuous landscape as the world they’ve grown accustomed to starts evolving.

It is also worth noting the role of Karolina Szymczak, who plays the Hungarian spouse of Brad Pitt’s character. Szymczak, who is married to Polish actor Piotr Adamczyk in real life, adds an interesting dynamic to the ensemble cast.

The Love Letter with a Dark Edge

The title of the film itself, “Babylon”, alludes to the fact that it’s a tale with a dual nature – part fairy tale, part debauched homage to Hollywood. However, this multi-layered narrative encounters issues as it stretches over three hours. The story becomes increasingly verbose, and the plot sees minimal progression, resulting in a lack of tension that could otherwise keep viewers on the edge of their seats.

One redeeming factor is the film’s capacity to transport viewers to a bygone era. The depiction of this past epoch is visually enchanting, with commendable cinematography, intricate costumes, and meticulously designed sets. These elements come together to create an immersive experience, but they fall short of compensating for the film’s lack of originality, particularly in the core message the director aims to convey. Ultimately, while “Babylon” presents an intriguing exploration of Hollywood’s history and character, it could have benefitted from a more innovative and tightly woven narrative structure.

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The Downsides of “Babylon”

As the film ventures into its later part, the narrative begins to resemble the uncomfortable aftermath of an extravagant party. It’s like that Sunday morning when your throat feels parched, your head throbs subtly, and the shadows of sleep deprivation stubbornly linger in your field of vision. Chazelle maintains her tale of the history of cinema, yet it feels as if the spectacular fireworks that have been sparking throughout the story have somehow faded away.

The film’s latter part appears to be a canvas of clichés and a noticeable rigidity, indicating that the director seems somewhat unsure about infusing fresh and unexpected elements into the narrative. The decline of the main characters seems inevitable, despite viewers hoping until the very end that they might somehow overcome their troubles and adapt to the evolving industry. Yet, the industry has shifted irrevocably, prioritizing the systematic operations of a corporate machine over the wild creative passions, risky ventures, and fortunate strokes of luck that birthed countless films in the past.

A Disappointing Finale and Pretentious Overtones

As the narrative inches closer to its conclusion, viewers are left with a sense of impending doom. “Babylon” fumbles with its ending, experimenting with multiple conclusions, but none of them hit the right note or offer a wholly satisfying resolution. This is why it’s especially frustrating when Chazelle succumbs to a pretentious undertone, guiding viewers through a muddled journey of cinematic self-indulgence that lacks the taste and substance one would expect. It feels like a stark contrast to her elegant portrayal of Hollywood in “La La Land,” and it’s difficult to comprehend why she chose to reiterate the theme in such an underwhelming manner.

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The Saving Graces: Technical Execution and Performances

Despite these shortcomings, “Babylon” manages to maintain a certain level of technical excellence even in its weaker moments. Linus Sandgren’s cinematography is commendable, rendering each frame with artful precision. As always, Justin Hurwitz’s music is beyond reproach, imbuing the film with a sonic character that is as compelling as it is captivating.

The performances are also noteworthy, with Brad Pitt and Margot Robbie at the helm, delivering impressive performances that give life to their characters. Moreover, the film surprises viewers with numerous guest appearances that add an extra layer of charm to the viewing experience. In these aspects, “Babylon” manages to hold its ground, offering moments of brilliance that shine through the fog of its narrative flaws.

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