Babel (2007)

Directed By: Alejandro Gonzalez Inarritu
Cast: Brad Pitt, Cate Blanchett, Gael Garcia Bernal, Koji Yakusho, Adriana Barraza, Harriet Walter, Rinko Kikuchi, Elle Fanning, Nathan Gamble, Mohamed Akhzam, Boubker Ait El Caid, Said Tarchani
Released: 12-01-2007

With the release of Babel, director Inarritu has broadened the styles and structure of his previous two films, the excellent Amores Perros and 21 Grams. Along with writer Guillermo Arriaga the pair have once again created a multi-narrative film in which the lives of the characters interact in some way. Unlike in Amores Perros and 21 Grams though, this is over a broader canvas. Whilst Brad Pitt and Cate Blanchett are on holiday in Morocco, their children are being taken to a wedding in Mexico by their nanny. A Moroccan farmer purchases a gun from a friend and sends his sons off to look after their herd and keep an eye out for jackal; meanwhile in Japan a deaf mute girl struggles with life as a teenager in the wake of her mother’s suicide. What links these three characters are thematic issues of isolation and an inability to communicate. Whilst Pitt and Blanchett’s marital problems go from bad to worse after a freak accident, their children and nanny get themselves into trouble in the Mexican/American border desert after the nanny takes them her son’s wedding. The Moroccan farmer learns of the catastrophic consequences of sending his son’s off with the gun and Chieko tries to fit in with society whilst feeling distinctly isolated due to her deafness.

In the previous films the interaction between these characters was what made them so compelling. In 21 Grams the lives cross cut in such an unfathomable way that it heightens the emotional impact of each character when it is juxtaposed against the lives of the others. Here though the characters lives are contained, separate from the stories developing elsewhere. In particular the Japanese narrative, which is excellently performed by Rinko Kikuchi, feels apart from the other narratives and other than the thematic similarities is linked only by a rather contrived plot development late in the film.
The narrative in Morocco and México however are linked in a rather effective manner and its not until the end of the film that you realise the events which take place in one story don’t begin until events in another are almost over. This brings the storylines in focus, as mother and father endure hardship and isolation in a foreign country their children sit at home watching television and playing. But by the time mother and father’s (Pitt & Blanchett) storyline in winding down, their children’s ordeal is just beginning. The events in Morocco are also given a contemporary edge as help is prevented due to America’s immediate reaction to the event as being a terrorist act. This provokes a humour you’d never expect as the true culprits are further from terrorists than the authorities could ever have hoped. This brings in another element which ties all of the stories together. Authority!. Crossing the border from Mexico to America its amazing how hostile and suspicious the authorities are toward the Mexicans, what stranger still is just how authentic it feels. In Morocco as well the authorities are very cold and callous torturing farmers for information and paying them no respect, that they are so ruthless stands to heighten the isolation felt by the characters. By contrast the hostility toward authority in Japan is switched, suspicious of the police after the inevitable investigation following her mother’s suicide, Chieko insecurities and fears are heightened by her deafness.
The biggest exploration of isolation though comes through the landscape. Director of Photography Rodrigo Prieto does a marvellous job of creating the vast expansive landscapes of rural Morocco, The Mexican/American border desert but also the big city of Tokyo. Perhaps one of the most cinematic cities in the world here it is used to highlight Chieko’s alienation. Her inability to communicate with this wonderfully loud world. She visits nightclubs and sees bands playing on the street, all accompanied by the silence she feels all the time.

This is a film about themes though, not plot, story or even performance. As with their previous collaborations Inarritu and an Arriaga are concerned with communication. The title Babel refers to the “tower of Babel”, built in Babylon by the Christians to reach heaven. God annoyed by their disobedience confused them by changing the languages and dispersing man across the world. It’s this which the film focuses on, the isolation and inability to communicate with those around you whilst simultaneously being inextricably connected by one particular item.

The film is also glorious to watch for its performances. Ironically, it’s not the star power of Brad Pitt, Cate Blanchett or Gael Garcia Bernal who steal the show. Instead its Rinko Kikuchi and Adriana Barraza who have both deservedly earned themselves Oscar nominations for their performances. Gael Garcia Bernal has nothing more than a cameo, appearing for about 15 minutes, Cate Blanchett spends much of the film writhing in agony, but does it fantastically. Brad Pitt has taken that step into serious demanding performances which don’t rely on his good looks at all and is a genuine stand out in the film carrying the weight of his narrative with aplomb. As for the four child actors, one ms Fanning, younger sister of Dakota shows that talent runs in the family, Nathan Gamble as her older brother is superb and delivers a performance of realism whilst battling against them for best child actor are Boubker Ait El Caid and Said Tarchani as the Moroccan boys who set the entire narrative on its course.

Unlike their previous efforts the individual narratives are not directly related to one another and this creates a detached feel to the film. Though painted on a broad canvas the film is not clever or intricate enough to draw everything together as their previous efforts have. Despite this it’s an engaging thought provoking film and we need more of this in modern cinema.