19 reviews
Babylon is a slice of Black British life in London in the late 70s and early 80s and given the Brixton riots of 1981 this film was strangely prescient.
The film revolves around racism from police, violence against blacks, poverty, disillusionment and reggae music.
Brinsley Forde from the reggae group Aswad and who had also been a child actor is a garage mechanic by day and an underground DJ by night.
The film follows him as he loses his job as a mechanic, gets beaten up by police, is falsely charged and forced to go on the run where he ends up in even more trouble.
Along with Forde, you have Mel Smith, Karl Howman, Maggie Steed and Trevor Laird as the better known performers.
While Forde's downward spiral is predictable it is a well paced film, the footage of London of that time now belongs to another era.
The use of music especially reggae music is an important ingredient in the film with famous Black DJs of the era making an appearance in the film.
It is low budget and harks back to another era although the message is still valid today. It deals with the issue of black racism. The racism here is open whereas today it might be more covert.
Interesting to note that these are not black youths involved in a life of crime. They are getting by in the inner city during a recession. Low paid work by day and their love of music at night.
The film by Martin Stellman and Franco Rosso is rarely shown on British TV, is an important document of 1980s British filmmaking.
The film revolves around racism from police, violence against blacks, poverty, disillusionment and reggae music.
Brinsley Forde from the reggae group Aswad and who had also been a child actor is a garage mechanic by day and an underground DJ by night.
The film follows him as he loses his job as a mechanic, gets beaten up by police, is falsely charged and forced to go on the run where he ends up in even more trouble.
Along with Forde, you have Mel Smith, Karl Howman, Maggie Steed and Trevor Laird as the better known performers.
While Forde's downward spiral is predictable it is a well paced film, the footage of London of that time now belongs to another era.
The use of music especially reggae music is an important ingredient in the film with famous Black DJs of the era making an appearance in the film.
It is low budget and harks back to another era although the message is still valid today. It deals with the issue of black racism. The racism here is open whereas today it might be more covert.
Interesting to note that these are not black youths involved in a life of crime. They are getting by in the inner city during a recession. Low paid work by day and their love of music at night.
The film by Martin Stellman and Franco Rosso is rarely shown on British TV, is an important document of 1980s British filmmaking.
- Prismark10
- Nov 6, 2013
- Permalink
As an avid follower of British cinema, I like to think that I've seen most of the worthwhile films that our country has produced. But I'm always on the lookout for films that I haven't seen, but sound interesting, and so I stumbled upon Babylon, then tracked it down on DVD and gave it a watch.
Co-written by the writer of Quadrophenia, and directed by an Italian born director, and starring Brinsley Forde of Aswad, comedian Mel Smith, and Karl Howman, perhaps best known these days as the face of Flash household cleaning products, it seems an unlikely sort of project, which perhaps, not surprisingly due to its sensitive subject matter dealing with the institutionalised racism of late 1970's England, seemed to receive little attention when it was released.
This is a shame, as although not quite a classic film, the director, Franco Rosso, who sadly was unable to generate funding for any future film projects after making this film, shows that given time he could have been a significant voice in British Cinema. Babylon is a film made by a gifted director just finding his feet, with some memorable scenes littered throughout. It strikingly portrays working class London in the late 1970's as a pretty unforgiving environment, though, the drab atmosphere of the setting is frequently punctuated by tracks from the film's reggae soundtrack, bringing you into the characters' world as they seek solace from these surroundings in the reggae music they play through their cherished sound system.
Babylon should definitely have a place in anyone's top 100 British films of all time. For me It only narrowly falls short of classic status because the ending feels a tad abrupt, and the whole film does feel like it does not run quite as seamlessly as it should. Perhaps that's down to the editing maybe. Even so, I'd recommend it to anyone with an interest in British films.
Co-written by the writer of Quadrophenia, and directed by an Italian born director, and starring Brinsley Forde of Aswad, comedian Mel Smith, and Karl Howman, perhaps best known these days as the face of Flash household cleaning products, it seems an unlikely sort of project, which perhaps, not surprisingly due to its sensitive subject matter dealing with the institutionalised racism of late 1970's England, seemed to receive little attention when it was released.
This is a shame, as although not quite a classic film, the director, Franco Rosso, who sadly was unable to generate funding for any future film projects after making this film, shows that given time he could have been a significant voice in British Cinema. Babylon is a film made by a gifted director just finding his feet, with some memorable scenes littered throughout. It strikingly portrays working class London in the late 1970's as a pretty unforgiving environment, though, the drab atmosphere of the setting is frequently punctuated by tracks from the film's reggae soundtrack, bringing you into the characters' world as they seek solace from these surroundings in the reggae music they play through their cherished sound system.
Babylon should definitely have a place in anyone's top 100 British films of all time. For me It only narrowly falls short of classic status because the ending feels a tad abrupt, and the whole film does feel like it does not run quite as seamlessly as it should. Perhaps that's down to the editing maybe. Even so, I'd recommend it to anyone with an interest in British films.
- andygberry1
- Sep 1, 2013
- Permalink
Saw this film in 1983, had it on tape - but cant find it!! Now, over 20 years on, I still remember several scenes word 4 word, as me and my cousins acted it out, especially Beefy's scene at the end - entering dance hall with big machete tucked down his tight red tracksuit while everyone was bubbling to "Warrior Charge". And yes Karl Howman (from Flash ads) is wickedly funny with his accent "Cho man we dealing pure wickedness" Aaahhh Love it. The film is a masterpiece, don't know why I cant find it on DVD or VHS - if anyone knows where it can be obtained - Please let me know. Also looking for No Problem - UK comedy which starred Janet Kaye, Victor Romero Evans with Beastie and Tosh too!!
- Ali_John_Catterall
- Jun 20, 2010
- Permalink
you dun even CAAAAARRRREE!!!" Hard hitting film about black youths growing up in south london during the 80s, dealing with racism. The scenes where the two white police officers beat up the hero are chilling and brutally realistic. In the 70's black youth embraced rastafari and the movement allowed them to form their own identity and stay united. Brindsley Forbes is excellant, as is the soundtrack by aswad. Check out warrior charge "tune is had like concrete!" DUBPLATE!!! Why is this excellant film not on DVD or video? It has been shown on channel 4 once before and I did have it on tape but lost it.
Nowadays the only way to see it is by renting it from some black music/video shops if you can find it. Yes ronnie is the guy from brush strokes. "Fat larry your one crook" "Brixton y'acall dis?" The only OTHER film that has lyrics like this is The Harder They Come. If anyone has this on video can you please contact me so I can get a copy!
Cheers!
Nowadays the only way to see it is by renting it from some black music/video shops if you can find it. Yes ronnie is the guy from brush strokes. "Fat larry your one crook" "Brixton y'acall dis?" The only OTHER film that has lyrics like this is The Harder They Come. If anyone has this on video can you please contact me so I can get a copy!
Cheers!
Thank Margaret Thatcher for "Babylon", a tale of several West Indian youths living in a dank and dreary Great Britain. She's not mentioned in the film, but she might as well be the Bible's fork-tongued Whore of Babylon. Her city? London, to which the film's title alludes (Rastafarians and Christians use the word "Babylon" to refer to a corrupt and decadent society).
"Babylon" was directed by Franco Rosso, and was late to a wave of British films revolving around West Indians living in South London. The first of these was Horace Ove's "Pressure", also the first British film to be directed by a black director. Like "Pressure", "Babylon" is a gritty, neorealist account of black Londeners, chief among whom is Blue (played by reggae vocalist Brinsley Forde), a Rastafarian disc jockey who's trying to prepare for an upcoming music competition. Like the characters in "Pressure", Blue struggles with crime, racism, prejudice, violent slum life, personal and racial identity and finds the only positive outlet in his life – his music – repeatedly challenged.
The inter-war and postwar (1944-1962) years saw a huge increase in Caribbean migrants arriving in Britain. The first of these were lured over to fight in World War 2 (tens of thousands of West Indians were recruited for service in the RAF and Royal Navy), work in industries and agriculture, all sectors which were facing serious labour shortages. These shortages were only partly met by the recruitment of women and Irish workers. During the long, post-war Eropean economic boom, which was fuelled by reconstruction and American investment, immigration then began to further increase, leading to the creation of substantial immigrant communities in and around London. This, of course, led to frictions with the white working class, which culminated in the riots of the 1950s, in which white gangs such as the Teddy Boys clashed with black immigrant families. Far right groups, unions and the left would all exploit these conflicts. "Pressure" and "Babylon", made in the late 1970s, were themselves released in the wake of a second wave of Nottingham riots.
Unlike most films in its wave, "Babylon" has a certain aesthetic punch (traces of "Saturday Night Fever"). The film is packed with smooth Reggae tunes and seems to take place in an everlasting night, with eye popping lights and fluorescent colours languishing behind a blanket of perpetual cigarette smoke. It's a moody, easy going film, captures well the London club scene of the 1970s, the brutalist hell of concrete-London, and offers a rare glimpse into the lives of an oft neglected community (black, West Indian South Londoners). On the flip-side, the film's writing is obvious and too direct, a trait typical of even classic neorealist works; what you see is what you get.
Uniquely, the film eschews Jamaican and West Indian gangland culture in favour for focusing on the implicit radicalism of reggae. Reggae always was protest music, its fire the fire of the mobs. It didn't quite last, though. Protest music declined in the early 1980s, with the deaths of Marley, Lennon and the slow collapse of punk. Reggae then essentially became stoner and sex music, as roots reggae transformed into dance-hall.
Before this, reggae was a force. The best reggae had the proselytising fury of Dylan, to which groups like Burning Spear, The Abyssinians or dub-poet Linton Johnson inserted their own Rastafarian or political beliefs. This "spiritual" dimension gave the genre a Utopian, almost philosophical tinge; the desire for change "through" music. Indeed, albums were oft given provocative titles like "Confrontation" and "Uprising", lyrics were openly agitprop ("Come we go chant down Babyon one mo' time!") and even album art would feature dread-locked warrior-heroes (the Rasta's dreadlocks were oft likened to the manes of the lion of Judah) slaying monstrous "Babylon Dragons". "Babylon" itself ends with a singer chanting "we can't take no more of that!", a protest which is inter-cut with shots of police officers kicking down doors (the film was banned because censors feared that it would incite riots). There's a simplicity to the film's politics - things boil down to a very simple, noir existentialism ("The city's not right and we want out!") - but also a sense of raw, truthful anger.
Horace Ove's "Pressure" is an even more interesting snapshot, thanks largely to its low budget, which necessitated the casting of many non actors. Trinidadian born Ove (pronounced "O-vay") was heavily influenced by Italian neorealists, and used heavy improvisation and cinema-verite techniques to convey life in 1970s West London. Like "Babylon" the focus is on young, black West Indians, most of whom are second generation migrants and all of whom struggle with issues of cultural identity, institutional racism and cultural preservation. The film's central character is a kid called Tony who is radicalised by his brother, a black activist. Much of the film deals with the problems of employment, alienation, white power structures, inextricable class/race linkages, and the assimilation or mutation of cultural values (the immigrant's changing taste in food, music, culture, beliefs etc). Some of the film's more daring moments align Christianity itself with racism, in which, for example, men of power use "black" as a metaphor for sin and tout "white" as being synonymous with holiness. Like many neorealist works, much of the film consists of "stolen footage", many of those appearing on screen not realising they are on camera or attending staged rallies. Like "Babylon", indeed like most neorealist works, "Pressure" has a certain obviousness about it. These films are best appreciated as time capsules; historical totem poles. In a sense, the mark the birth of Thatcherism. Thatcher, of course, was elected as leader of the Conservative party in 1975, and quickly set about removing certain safeguards for citizens in favour for an emphasis on "individual responsibility" and "private initiative", all the while presiding over the "managed decline" of several segments of society. She was good with code words.
8/10
"Babylon" was directed by Franco Rosso, and was late to a wave of British films revolving around West Indians living in South London. The first of these was Horace Ove's "Pressure", also the first British film to be directed by a black director. Like "Pressure", "Babylon" is a gritty, neorealist account of black Londeners, chief among whom is Blue (played by reggae vocalist Brinsley Forde), a Rastafarian disc jockey who's trying to prepare for an upcoming music competition. Like the characters in "Pressure", Blue struggles with crime, racism, prejudice, violent slum life, personal and racial identity and finds the only positive outlet in his life – his music – repeatedly challenged.
The inter-war and postwar (1944-1962) years saw a huge increase in Caribbean migrants arriving in Britain. The first of these were lured over to fight in World War 2 (tens of thousands of West Indians were recruited for service in the RAF and Royal Navy), work in industries and agriculture, all sectors which were facing serious labour shortages. These shortages were only partly met by the recruitment of women and Irish workers. During the long, post-war Eropean economic boom, which was fuelled by reconstruction and American investment, immigration then began to further increase, leading to the creation of substantial immigrant communities in and around London. This, of course, led to frictions with the white working class, which culminated in the riots of the 1950s, in which white gangs such as the Teddy Boys clashed with black immigrant families. Far right groups, unions and the left would all exploit these conflicts. "Pressure" and "Babylon", made in the late 1970s, were themselves released in the wake of a second wave of Nottingham riots.
Unlike most films in its wave, "Babylon" has a certain aesthetic punch (traces of "Saturday Night Fever"). The film is packed with smooth Reggae tunes and seems to take place in an everlasting night, with eye popping lights and fluorescent colours languishing behind a blanket of perpetual cigarette smoke. It's a moody, easy going film, captures well the London club scene of the 1970s, the brutalist hell of concrete-London, and offers a rare glimpse into the lives of an oft neglected community (black, West Indian South Londoners). On the flip-side, the film's writing is obvious and too direct, a trait typical of even classic neorealist works; what you see is what you get.
Uniquely, the film eschews Jamaican and West Indian gangland culture in favour for focusing on the implicit radicalism of reggae. Reggae always was protest music, its fire the fire of the mobs. It didn't quite last, though. Protest music declined in the early 1980s, with the deaths of Marley, Lennon and the slow collapse of punk. Reggae then essentially became stoner and sex music, as roots reggae transformed into dance-hall.
Before this, reggae was a force. The best reggae had the proselytising fury of Dylan, to which groups like Burning Spear, The Abyssinians or dub-poet Linton Johnson inserted their own Rastafarian or political beliefs. This "spiritual" dimension gave the genre a Utopian, almost philosophical tinge; the desire for change "through" music. Indeed, albums were oft given provocative titles like "Confrontation" and "Uprising", lyrics were openly agitprop ("Come we go chant down Babyon one mo' time!") and even album art would feature dread-locked warrior-heroes (the Rasta's dreadlocks were oft likened to the manes of the lion of Judah) slaying monstrous "Babylon Dragons". "Babylon" itself ends with a singer chanting "we can't take no more of that!", a protest which is inter-cut with shots of police officers kicking down doors (the film was banned because censors feared that it would incite riots). There's a simplicity to the film's politics - things boil down to a very simple, noir existentialism ("The city's not right and we want out!") - but also a sense of raw, truthful anger.
Horace Ove's "Pressure" is an even more interesting snapshot, thanks largely to its low budget, which necessitated the casting of many non actors. Trinidadian born Ove (pronounced "O-vay") was heavily influenced by Italian neorealists, and used heavy improvisation and cinema-verite techniques to convey life in 1970s West London. Like "Babylon" the focus is on young, black West Indians, most of whom are second generation migrants and all of whom struggle with issues of cultural identity, institutional racism and cultural preservation. The film's central character is a kid called Tony who is radicalised by his brother, a black activist. Much of the film deals with the problems of employment, alienation, white power structures, inextricable class/race linkages, and the assimilation or mutation of cultural values (the immigrant's changing taste in food, music, culture, beliefs etc). Some of the film's more daring moments align Christianity itself with racism, in which, for example, men of power use "black" as a metaphor for sin and tout "white" as being synonymous with holiness. Like many neorealist works, much of the film consists of "stolen footage", many of those appearing on screen not realising they are on camera or attending staged rallies. Like "Babylon", indeed like most neorealist works, "Pressure" has a certain obviousness about it. These films are best appreciated as time capsules; historical totem poles. In a sense, the mark the birth of Thatcherism. Thatcher, of course, was elected as leader of the Conservative party in 1975, and quickly set about removing certain safeguards for citizens in favour for an emphasis on "individual responsibility" and "private initiative", all the while presiding over the "managed decline" of several segments of society. She was good with code words.
8/10
Nice to see via the comments and the message board that this film was held in high regard . I remember it well . It's one of those tough , gritty realist type movies broadcast late night on Channel 4 sometime in the late 1980s when that particular channel was interested in showcasing challenging home grown talent . In those days my peers and myself would nearly always be watching movies on VHS cassette and would involve people with American accents suffering terrible and gory deaths via mad axemen and monsters . It'd be a novelty in seeing a serious film , never mind a British produced one and this type of movie in look and feel would be occasionally attempted by Ken Loach or Alan Clarke . That said perhaps the novelty of seeing BABYLON gave it a reputation that possibly isn't that deserved
As I started to watch it again I really found asking myself I'd be able to make it all the way through to the end credits down to one reason - the characters talk in heavy Jamaican tones . I did recognise the Jamaican phrase for " Good afternoon . How are you my friend ? " which is " Hey mon " but after that I was totally puzzled as to the conversations taking place . Just about every black character in the film talks like that with the ironic exception of the one bloke who does look like he's just stepped off the boat from Kingston and you're now able to understand what's going on to an extent. Nice to know he also has a white friend because that means there's at least two people I can understand . There's other white people too but they're incapable of opening their mouths without a tirade of racial insults spewing from it . And this is the problem with BABYLON - there's hardly one single likable or sympathetic character in it and is rather dated in every aspect
One can see the point the film is making . It was produced in 1980 , the year before the Brixton riots and a time when institutionalized racism was the norm and what BABYLON deserves very great credit for is in its sophistication in not painting society as " White people = rabid racist oppressors , Black people = poor innocent victims " . What I mean by this is that several white characters mouth racist insults but you see them having a motive for being angry . A mechanic walks out in the middle of work earning the ire of his employer . If the boss was truly racist would he have given a black kid a job in the first place ? A group of reggae fans are having all night parties in a lock up garage thereby upsetting the residents nearby . Now if the actions were done by a group of white chavs the outcome would possibly have the same outcome ? The police are painted as racist bully boys but you'd to have to a very naive reader of The Daily Mail not to believe there's a large element of truth in this especially taking on board the location and the period it's set in and explains to an extent the motives of most of the black characters who do have very large chips on their shoulders. This level of sophistication where the audience are allowed to make up their own minds as to the causes of racism or indeed if we're racist simply because we're human and want to belong to our own tribe is left open ended but is striking in the refreshing and ambiguous way it's put forward . Also interesting that a couple of characters are portrayed as being violent " queer bashers " and if you really want to really confuse and upset a bleeding heart liberal just show a couple of black guys beating up a homosexual . You wouldn't get that in EASTENDERS
BABYLON isn't a great film and because of the language problem makes it rather inaccessible for a mainstream audience along with the dated look . It is however a good example of a British realist drama and despite being a political film is thankfully free of the political overstatement that Loach might have brought to the story . I've also had a look at the resume of the director Franco Rosso and was surprised and a little sad that his career didn't really progress beyond this movie because with a couple of more films under his belt I'd be very interested in seeing what sort of director he'd be like as he matured . As it stands BABYLON seems a career highlight of a far too short career
As I started to watch it again I really found asking myself I'd be able to make it all the way through to the end credits down to one reason - the characters talk in heavy Jamaican tones . I did recognise the Jamaican phrase for " Good afternoon . How are you my friend ? " which is " Hey mon " but after that I was totally puzzled as to the conversations taking place . Just about every black character in the film talks like that with the ironic exception of the one bloke who does look like he's just stepped off the boat from Kingston and you're now able to understand what's going on to an extent. Nice to know he also has a white friend because that means there's at least two people I can understand . There's other white people too but they're incapable of opening their mouths without a tirade of racial insults spewing from it . And this is the problem with BABYLON - there's hardly one single likable or sympathetic character in it and is rather dated in every aspect
One can see the point the film is making . It was produced in 1980 , the year before the Brixton riots and a time when institutionalized racism was the norm and what BABYLON deserves very great credit for is in its sophistication in not painting society as " White people = rabid racist oppressors , Black people = poor innocent victims " . What I mean by this is that several white characters mouth racist insults but you see them having a motive for being angry . A mechanic walks out in the middle of work earning the ire of his employer . If the boss was truly racist would he have given a black kid a job in the first place ? A group of reggae fans are having all night parties in a lock up garage thereby upsetting the residents nearby . Now if the actions were done by a group of white chavs the outcome would possibly have the same outcome ? The police are painted as racist bully boys but you'd to have to a very naive reader of The Daily Mail not to believe there's a large element of truth in this especially taking on board the location and the period it's set in and explains to an extent the motives of most of the black characters who do have very large chips on their shoulders. This level of sophistication where the audience are allowed to make up their own minds as to the causes of racism or indeed if we're racist simply because we're human and want to belong to our own tribe is left open ended but is striking in the refreshing and ambiguous way it's put forward . Also interesting that a couple of characters are portrayed as being violent " queer bashers " and if you really want to really confuse and upset a bleeding heart liberal just show a couple of black guys beating up a homosexual . You wouldn't get that in EASTENDERS
BABYLON isn't a great film and because of the language problem makes it rather inaccessible for a mainstream audience along with the dated look . It is however a good example of a British realist drama and despite being a political film is thankfully free of the political overstatement that Loach might have brought to the story . I've also had a look at the resume of the director Franco Rosso and was surprised and a little sad that his career didn't really progress beyond this movie because with a couple of more films under his belt I'd be very interested in seeing what sort of director he'd be like as he matured . As it stands BABYLON seems a career highlight of a far too short career
- Theo Robertson
- Mar 3, 2014
- Permalink
This is a wonderful film, featuring a almost all black cast apart from a couple of white characters, one being (Mel Smith in a cameo role) as a boss and the other(karl Howman) a friend of the young black men. It deals with the race relations in a brutal way, and is quite hard to watch at times but this is what proper film making is all about imo. It has its fair share of funny moments as well, like the main character having to take his truant little bro to school but he keeps running off trying to avoid going. A film about race,family,friends and love in a well acted and competently directed film without being flashy which it does not need to be. The scenes with the token white friend and and his black pals are the strongest scenes in the movie. Also a final point which it is great to see what certain parts of London looked back then, grim and uninviting.
- scotgraham-68465
- Aug 16, 2017
- Permalink
- quadrophenia-69524
- May 14, 2021
- Permalink
This was a film of it's time, I am one of the lucky ones who saw it when it premiered the one and only time on Channel 4 back when it was a new station. It features great performances by most of the cast and outstanding ones from Brinsley Forde, Karl Howman & Trevor Laird. The soundtrack to the movie is excellent and also brings back some fond memories of what life was like back in that time. People not from the UK or who are not familiar with Brixton get a real eye opener about what life for black youths, but black young men in particular was like. The deprivation, the listlessness and the treatment by the police, treatment that led ultimately to the riots in ensuing years
I cannot understand why this film wasn't released on DVD, the 25th anniversary 2 years ago would seem to have been a great opportunity. Perhaps we need a petition on the .gov.uk site to implore the powers that be to set and keep the date for release!!!
Perhaps we should arrange a big screening somewhere in the west end. I highly recommend this film. Definitely one for the collection.
I cannot understand why this film wasn't released on DVD, the 25th anniversary 2 years ago would seem to have been a great opportunity. Perhaps we need a petition on the .gov.uk site to implore the powers that be to set and keep the date for release!!!
Perhaps we should arrange a big screening somewhere in the west end. I highly recommend this film. Definitely one for the collection.
Saw USA release in the theatre in Austin and it beat my hopes. Great soundtrack and a story that is still pertinent to today. Sad it took so long. Need this in more mediums.
I was sat flicking through the TV channels last night and caught the opening scene of Babylon on BBC2. I couldn't believe it. I also couldn't understand how I'd forgotten about the film and why the DVD was missing from my collection.
Babylon is a classic film without equal. I was 14 in 1981 and going to blues with my older brother.
Dub, real classic heavy dub, was my sound track to the early 80's and Babylon was one of those films which summed up the experience of many black and white bwoy dem in a time before gangsta (c)rap corrupted everything.
Jamacian Patois with a slight cockney twang has been replaced by Jafaican. Collie weed and Blue Mountain Sensi replaced with skunk. Choparitas replaced with bling.
Babylon is a snapshot time capsule of a film and it should be cherished as such, without analysing it too much and it should only be compared on its own terms.
Been playing the soundtrack this morning and I've ordered the DVD to fill that gap in my collection. If you get the chance, watch the film.
Bim!
Babylon is a classic film without equal. I was 14 in 1981 and going to blues with my older brother.
Dub, real classic heavy dub, was my sound track to the early 80's and Babylon was one of those films which summed up the experience of many black and white bwoy dem in a time before gangsta (c)rap corrupted everything.
Jamacian Patois with a slight cockney twang has been replaced by Jafaican. Collie weed and Blue Mountain Sensi replaced with skunk. Choparitas replaced with bling.
Babylon is a snapshot time capsule of a film and it should be cherished as such, without analysing it too much and it should only be compared on its own terms.
Been playing the soundtrack this morning and I've ordered the DVD to fill that gap in my collection. If you get the chance, watch the film.
Bim!
- FiveHundredFlicks
- Jul 29, 2011
- Permalink
A nostalgic picture of imagery backed by the raw realism the style captures - 70s and 80's in LDN. It's hilarious, sad at times with a pendulum of the good and bad moments city life had to offer in the build up to the Brixton riots in 1981. Highlighting the divide between culture and colour. A moving picture that's a brilliant insight into the history. The language spoken IsIyaric (pseudo-dialect of English consciously created by members of the Rastafari movement) warms to your ears as the film progresses so no need for subtitles.
A lesson for anyone wanting to get a glimpse of racism in the UK. It's shows how two wrongs dont make a right, and the wheel of revenge goes round in circles with no true winners.
The music masterclass which always seams to be ticking over in the background, ever changing and adapted for dark moments in the film keeps you intrigued. That's is my favourite thing about it. It reminds us that we should all love eachother equally regardless, because we are all trying to make are way in this world and a little reggae heals the soul. A World class film that disserves more recognition in the modern day. 10/10 will stay fondly in the memory as a cult classic.
A lesson for anyone wanting to get a glimpse of racism in the UK. It's shows how two wrongs dont make a right, and the wheel of revenge goes round in circles with no true winners.
The music masterclass which always seams to be ticking over in the background, ever changing and adapted for dark moments in the film keeps you intrigued. That's is my favourite thing about it. It reminds us that we should all love eachother equally regardless, because we are all trying to make are way in this world and a little reggae heals the soul. A World class film that disserves more recognition in the modern day. 10/10 will stay fondly in the memory as a cult classic.
- chaddisblue
- Jan 24, 2022
- Permalink
Words cannot describe the film. It was accurate in many ways, it was political, the soundtrack was awesome and one of the best films I have ever seen. Saw the file for the first time many years ago when it was screened on Channel Four. Videoed it and saw it many a time after that but unfortunately lost the video. The film was the talking point at college and everybody had the soundtrack, nicknamed themselves after the characters and repeated some of the wicked lines. NEED TO SEE IT AGAIN (and not just to relive my youth). Anybody out there know how to get of a DVD copy or even a video copy? Have got friends searching for me as well but to date no joy.
- hardipthandi
- May 18, 2005
- Permalink
saw this film on a shady, grainy VHS back in 88ish still didn't stop me watchin it time after time. Featured Brinsley Forde as well as the guy off the jif adverts with a great scene showing the lengths they went to to keep the sound running after vandalism (burgling the local school for tweeters)
Has few films worthy of comparisons but "rockers" "burning an illusion" and "the harder they come" spring to mind. Urban ,political, realistic with a heavyweight soundtrack which even got sampled by early 90s rave tune. Still searchin for this film as well as "burnin an illusion" any help would be appreciated,
might even throw in free copy of "rockers " DVD Classic film cant believe this could be so hard to find.
Has few films worthy of comparisons but "rockers" "burning an illusion" and "the harder they come" spring to mind. Urban ,political, realistic with a heavyweight soundtrack which even got sampled by early 90s rave tune. Still searchin for this film as well as "burnin an illusion" any help would be appreciated,
might even throw in free copy of "rockers " DVD Classic film cant believe this could be so hard to find.
- MattBairdSound
- Jan 7, 2008
- Permalink
Look, I'm glad I saw Babylon. Low budget cult, yes. And as my man maphubaird said, it takes itself a little too seriously. For me, The film had 4-6 gorgeous, modern shots. Shots that showed the East End ( Might has well as been the Bronx the same period) in it's long lensed and well framed "bald reality." Yet, the story was clumsy. Only the blazing of a big head on my part assisted in long term watching of "Babylon" . BUT!!! I will celebrate the soundtrack in the fullest as well as big up the "winding section" That was some of the most loping and genuine film I'd ever seen.
Bottom line, I watched a third generation video tape dub (EAT ASS MPAA!) and still thoroughly enjoyed this film. And to tell the truth, a good 89% of my friends would enjoy it too( I know the "gorilla in the midst" in me liked it.)
We all like these stories, these immigrant, overcoming odds stories... Just let's not be predictable. Maybe This film was a victim of it's time and misguided white influence, maybe it was the hack writer from Quadrophenia. All for naught.
The energy is there, it's just the timeless art that's missing. More good shots, less cliché, more BK reality and Babylon would be as prescient now as it was in the 80's.
ps-Big Up if you came here from the Don Letts interview!!!
Bottom line, I watched a third generation video tape dub (EAT ASS MPAA!) and still thoroughly enjoyed this film. And to tell the truth, a good 89% of my friends would enjoy it too( I know the "gorilla in the midst" in me liked it.)
We all like these stories, these immigrant, overcoming odds stories... Just let's not be predictable. Maybe This film was a victim of it's time and misguided white influence, maybe it was the hack writer from Quadrophenia. All for naught.
The energy is there, it's just the timeless art that's missing. More good shots, less cliché, more BK reality and Babylon would be as prescient now as it was in the 80's.
ps-Big Up if you came here from the Don Letts interview!!!
this film is wicked. the music is bad, in the michael jackson sense of the word, the plot is hilarious and the whole thing is filmed around brixton which is lovely if you live there. and its got the bloke from brush strokes in it.
- bengoldacres
- Dec 18, 2002
- Permalink