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People didn't want to THINK about this movie at the time it first came out. The idea that a childless couple, so desperate to have a baby, would have the husband meet a young surrogate at a hotel room to "make a baby" while the wife sits nervously at home, looking at the clock, anticipating his return home. That was too much for people. It was titillating and had a sleaziness to it.

Sex can do a lot of things. Barbara Hershey was very good in her part and started to have "feelings" for the husband (this often happens after sex). She has a boyfriend (Scott Glenn), whom she catches in bed with another woman, which sends her over the edge.

I don't remember the end, but I used to have this on tape. I wouldn't mind seeing it again.

THE BABY MAKER is the sort of movie that today simply couldn't have been made because it discusses about women's wanting of getting pregnant and have kids, and today these sort of things aren't discussed anymore. There is one reason tho, why I decided to watch this: it's Scott Glenn's first movie he ever did and as usual, he was one of the best things of the movie.

Suzanne Wilcox (Collin Wilcox, it seems odd but they have the same surname) can't have children so her husband Sam hires a flower child named Tish Gray (Barbara Hershey) for having the baby. Most of the movie then focuses on the clashing views between Tish, her boyfriend Tad Jacks (Glenn) and the Wilcox couple, and also on the turmoil they go through.

To say that the movie is strange would be an understatement. The idea itself of a woman that has to give birth to a child and then give it away to another couple is not something you usually hear in movies, and Scott Glenn's character was 100% unlike his usual characters of men of few words... here he played a loud and fun loving boyfriend to Gray. Considering this was the first movie he ever did, he had to start some way or another.

Overall, if you are fans of 1970s counter culture it's worth a look.

An excellent, if greatly underrated film. Philosophical author Thaddeus Golas, who lived with a hippie commune for several years in San Francisco in the '60s and 70s, pointed out that The Baby Maker wonderfully captured the spirit of youth in the '60s, far better than Hollywood caricatures like The Trip or Easy Rider. This is true, of course. This film is about the clash of worlds and paradigms. Like most films of the 1970s, it's true themes are hidden under layers, and the title gives few clues as to what the story is truly pointing at. Worth a viewing!

A charming story, told with the right amount of delicacy, despite the topic of pregnancy on behalf of a third party being a very controversial topic, perhaps more so now than then. Furthermore, the film managed to immerse me in the vibrant 70s, with its atmospheres, events and cultural movements.

After a first unwanted pregnancy, in which she had to give up the child for adoption because she was too young, Tish Gray (Barbara Hershey) realized she had a predisposition to raise a child inside her, without having to take care of it, she comes into contact with Suzanne Wilcox (Collin Wilcox Paxton) who, after a hysterectomy, has a dream: to have a biological child from her husband Jay (Scott Glenn).

Director James Bridges demonstrates considerable sensitivity and respect for the narrative (his is also the screenplay), with delicate scenes, but also with clear and direct dialogues. In my opinion representing the hippie culture better than many more famous films, showing in the reality of its scenes the clash of two different worlds (the old traditionalist bourgeoisie and the progressive hippie movement) and their relative axioms. The acting is sublime, not only the beautiful and very good interpreter, but also the debutant Scott Glenn.

Citation of merit: soundtrack and leitmotif really wonderful, did they deserve the Oscar? Mmmh... let it be.

An upper-class, childless couple in Southern California "hires" a comely hippie to bear the husband's baby (this being 1970, she conceives the old-fashioned way); soon, the straight-laced twosome are drawn into the young woman's world. Interesting, insightful, provocative (for its time), the movie does follow a typical by-the-numbers pattern (with an "open minded" boyfriend, jealousies and friction on all sides), but writer-director James Bridges is very tasteful and unhurried. He also gets some lovely shots of Barbara Hershey at her chestnut-haired, go-go-booted best (my favorites were her run across the street at the beginning, a stunning glimpse of her through a rain-soaked car window, and under the sheets in bed). The incredible finale refuses to compromise, and even though the medical aspects of the story are dated, the emotions are still on-target. *** from ****