User reviews

"Babel" centers on several groups of people in 4 countries that are all connected by one freak accident… Alejandro González Iñárritu takes us from North Africa to North America to Asia… His film exposes four unconnected story lines that are eventually divulged to be inextricably linked to one another…

The first involves an isolated family of goat herders who live in the High Plateaus of the Moroccan desert where two young boys are testing a rifle's range handed by their father to protect their goats from jackals...

The second concerns a Middle-class American couple on a bus tour of Morocco trying to save together their damaged marriage…

Meanwhile, in the US, there is grave danger for an undocumented immigrant—a Mexican nanny as she tries to return to United States after she wrongfully decides to take her two blonde-haired young charges to her son's wedding across the Mexican border, despite her employers' sudden change of plans, that needs that she remains with them and miss the joyful occasion…

And on the opposite side of the world, we follow, in Tokyo, an alienated, confused deaf and mute teenage student, recovering from her mother's suicide, who eases her feelings of depression and loneliness by trying to win the friendship or attention of every man or adolescent who crosses her path… She flirts with sexual exhibitionism to attract the attention of her distant and uncommunicative father…

"Babel" tries to make a point and the point is that when people can't or won't communicate, unpredictable paths can lead to tragic consequences… It also tries to leave a message of how a 'shooting' from a simple 'gift' can set off a chain reaction of tragic events in three continents and four countries over which the different characters have exceedingly uncomfortable human emotion…

Out of the entire cast, it is only Rinko Kikuchi as Chieko who steals the movie especially when she transmits to her friends her mad decision of sexual aggressiveness, saying to all: "Now they're going to meet the real hairy monster." This scene remembered me, in some way, Sharon Stone uncrossing legs in "Basic Instinct."

Alejandro González Iñárritu's two previous films, Amores Perros and 21 Grams, dealt with the subject of very different people being connected on a small scale. Babel takes a different approach, but has the same central theme. The plot follows four different stories that stretch the entire globe (Morocco, Japan, Mexico and a few minutes in America) and shows how one single bullet can effect the lives of people so far apart. Guillermo Arriaga's script is breathtaking and perfectly structures this vast array of characters. Within minutes of being with them, we know exactly who they are and what drives their current personality. This gives time for the epic story to play out.

It's all centered around two young boys who are fooling around with a rifle and accidentally shoot American tourist Susan (Cate Blanchett) who is on "vacation" with her husband Richard (Brad Pitt). Though never directly saying it, it's quite clear that one of their son's died and Richard panicked and left his family behind; leaving Susan to care for their two remaining children. He came back and their vacation to Morocco was really just an excuse for them to get away and try to get their marriage back together. Ultimately it does bring them back to each other, but it takes tragedy to do so. Brad Pitt's performance is one of the finest of 2006 and his internal pain and emotional strength manage to bring a river of tears flowing from my eyes. It's his best performance since Twelve Monkeys and further proves that through all of the controversy of his social life, he's still a phenomenal actor. Back in America, their nanny Amelia (Adriana Barraza) is taking care of their two children while they are gone. Through unfortunate circumstances she has to bring them to Mexico for her son's wedding and things take a huge turn for the worse when they try to cross back over into America.The final story is a much further departure from the rest of the characters. It centers around a deaf-mute Japanese schoolgirl named Chieko (Rinko Kikuchi) who struggles with the pain of being so different from everyone else along with her mother's apparent suicide and the police's attempt at questioning her father about a gun he gave to a Moroccan man (the gun used to shoot Susan).

While most people believe that the film is about how people living so close to each other can be so different, I actually feel that it's the exact opposite. I think it's a story of how people so far apart (on different continents, speaking different languages) are almost exactly alike. All of the stories center around similar themes; loneliness, alienation, depression, the loss of a loved one and more while Arriaga never forgets to subtly mention the political outrage that comes from an American woman being shot in a foreign country. Every character feels the same emotions, deals with similar pain and are all connected by this single shooting. Babel starts off as a film about very different people in very different worlds, but ends up being one studying human nature and showing that even when we're worlds apart people we can still be so similar. All you have to do is listen.

I admire Gonzalez Inarritu's balls and his talent of course. He opens himself up for a barrage of criticism and ridicule but at the end his genius wins. I saw the film months ago and I still think about it. I haven't seen it again because the recollection is so powerful and I don't want to mess it up by seeing it again intentionally. The Mexican woman with the white kids in the desert has become part of my nightmares. What an enormous thing for a movie to accomplish. I'm giving it a 10 and not because I "like" the film so much but because I saw myself coming to the conclusion that the film is a masterpiece all on my own. It inspires respect. Christ! I can't believe I'm saying that but I am and I'm meaning every word. In a way it reminds me of Bunuel's "Viridiana" a film that I hated so much it has become one of the most important films of my life. Go figure. To be disturbed. I mean deeply disturbed is a strange experience and I suspect that it has to do with being confronted by the truth.

I'm generally not a fan of non-linear storytelling in films - there is usually no reason for it and it can be frustrating and difficult to follow the plot. While the plot in 'Babel' is relatively easy to follow, the film still suffers the same annoying problems as other non-linear films.

The most irritating thing for me is how scenes that are connected and happening at the same time are presented so far apart. At the very start of the film we see kids fire a bullet at a coach, yet the scene that logically goes together with this from inside the coach does come until a significant while later.

The viewer also never gets to properly know any of the characters - there's no time for any character development as the film is constantly going back and forth between characters and situations. As a result, you don't really care for what happens to any of them.

The saving grace of 'Babel' is its ending, which brings everything together and wraps the story up nicely. Even though it can be a frustrating watch at times, 'Babel' is a smart and well-made film.

I loved "Amores Perros" It was revolutionary in so many ways and smelled like the real thing even if I couldn't quite put my finger as to what the real thing really was. "21 Grams" had gigantic intentions and superb performances but didn't feel quite revolutionary because we had kind of seen it before - and better - in "Amores Perros". Now "Babel" and, my goodness, the first thing that comes to mind is, what an extraordinary filmmaker Inarritu really is. I suspect that his universe, even if it feels infinite, it is framed - beautifully so - between the walls of biblical references. His methods may be way ahead of the times but the roots are as ancestral as fire itself. I'm not sure where I want to go with all this but the question is, Inarritu is taking me places and that's what I long for in a filmmaker. He's not taking any of us for granted and I'm very grateful for that. His movies are experiences and I for one can't wait for the next one.

Alejandro González Iñárritu's direction is brilliantly layered and intricately woven. He deftly uses different film stock, imagery, sound, and stories to weave a single tale out of four disparate ones, a talent he's shown in other films.

The story by screenwriter Guillermo Arriaga and Iñárritu has one incident ricochet around the globe, and peeling back the layers of culture to show the frustrating inability to communicate, and the poignancy and universality of familial love.

Each story is complete, but a series of snapshots that leave as many questions as answers. As the stories unfold, the backstories and the futures of the characters are chock full of possibility and pain. As one commenter during the Q&A said, it was frustratingly beautiful. Each storyline deals with family and conflict from the inability to communicate or to understand.

All the performances are incredible, and very touching. Brad Pitt did an excellent job, and the always outstanding Cate Blanchett, a powerhouse actor if there ever was one, has the least screen time of any of the leads. Few can do so much with so little. But the really outstanding performance is Rinko Kikuchi as a deaf-mute Tokyo teen.

To say any more would possibly lesson the experience, so let me just say this: it may seem confusing at times, but by the end, it will seem like poetry.

4 tenuously connected stories, beautifully shot, admirable soundtrack, and competent acting and directing. But, psychologically, philosophically, sociologically meaningful? Perhaps in their individual stories? But as a whole, I for one cannot connect the dots in this one.

Different people, different races, socio economic classes, cultures, countries, oh, and of course languages, hence communication. A lot of them making really stupid decisions, one in each tale, giving rise to tension and drama in each. Rich or poor, east or west, weak or strong, everyone is prone to just doing the wrong things at times.

It was a decent watch, even given the over bloated running time. If it affected you? Then you have understood the directors language I guess.

Alejandro Gonzalez Inarritu's Babel weaves four disparate and seemingly unrelated tales into a distinct, gritty narrative about the importance of communication - and what can happen when it goes awry. The movie is oftentimes difficult to watch, with ultrarealistic cinematography and gutsy, honest performances from its entire cast, particularly Oscar-nominated actresses Adriana Barraza (Amelia) and Rinko Kikuchi (Chieko).

Told nonlinearly, the movie describes the travails of a troubled married couple with a tour group in Morocco, played by Brad Pitt and Cate Blanchett. Something in their past has driven them apart, and to help deal with the problem they have taken a trip together. Meanwhile, the sons of a shepherd fight over who's the better shot with their new rifle and fire a blast at the couple's tour bus, critically wounding Susan (Blanchett).

Richard (Pitt) calls home in San Diego to notify the nanny of their children, Amelia; Amelia is in a bit of a bind, because she expected the parents home so she could attend the wedding of her son in Mexico. With Richard and Susan not returning soon, and with no one else available to watch the children, she takes them with her to the wedding.

In Japan, a deaf-mute Japanese girl acts out in reaction to her mother's suicide, which she discovered; the virginal Chieko becomes a huge sexual flirt, even removing her panties in a crowded restaurant to flash older boys. Chieko craves human contact but feels that the world's even more shut off to her now than ever before, and she sullenly shuns even her father's attentions.

It should go without saying that this film really isn't for everyone. It's gut-wrenchingly tough to watch at times, especially when Susan's wound is being treated. You can readily imagine how it'd be if you, an unworldly American, were suddenly in dire need of expert medical attention in a part of the world that wasn't really famed for it. That's enough to strike terror in me already, and I haven't even mentioned how Richard and Susan are awaiting help to arrive in a small, impoverished village with no running water or electricity - and only one person who can speak English to them.

How exactly these stories are commingled becomes evident as the movie progresses, but it's not all elegantly laid out for the viewer to immediately grasp; this is accomplished in part by the nonlinear storytelling. We see a scene near the end of the movie that is a mirror image of one from the beginning, except told from a different character's perspective. That's a tribute to the wonderful camera-work and editing by, respectively, Rodrigo Prieto and the team of Douglas Crise and Stephen Mirrone.

Barraza turns in a powerful, heart-breaking performance; at one point, she's stranded in the middle of the Sonoran desert with her two young charges clad in her dress from the wedding. Dazed by the blistering heat, Amelia cannot gain her bearings in the blazing heat, and she despairs. Then she makes a critical decision with devastating consequences.

Kikuchi is absolutely mesmerizing as the silent Chieko. Without uttering one word, she's able to convey a vast array of emotions, from loneliness to hostility to love to lust to affection. She's alternately serene and violent, in charge of and captured by her impediment. Chieko resents her father, her volleyball teammates, and most of all every so-called normal person who looks at deaf-mutes as monsters, creatures to be scorned and taken advantage of. Like Barraza, Kikuchi's role called for a difficult sacrifice: plenty of nudity.

Babel is a spellbinding, multifaceted story with towering, passionate performances by all of the leads. It's full of moxie and stark realism, and despite some minor plot implausibilities, it's a true feather in the cap for Inarritu.

Babel is my film of the year, and probably the best film I've seen in quite a few years. The film looks at relationships, from husband/wife, parent/children, brother/sister and plays around the themes of love in adversity. The characters are all interlinked in a very random way, it's a little like 10 degrees of separation. The film is set in Morocco, Mexico, Japan and the US, and the director makes full use of the different backdrops to bring the picture alive. The characters are deep and insightful, each has a problem to face up to and the subtle, naturalistic way their issues play out make for truly emotional cinema. This is not a film about heroes, it's a film about trying to make the right choices when your back is to the wall, and the doubts that go with this. Great movie, especially if you're a parent as your protective instincts will kick in at least once during this movie!

There are movies that appear in the right time and place with some good actors and hype director and are usually concerned with some broad humane concept. Given enough critical acclaims these movies start to be overexposed and finally everyone starts believing there is more to them than just the latest stylish interpretation of a familiar subject. Well, Babel is that kind of movie - stylishly shot in interesting locations and with some great performances it deals with the the theme of miscommunication. It doesn't say anything new or anything interesting for that matter but it says it pretentiously and with some visually astounding techniques. After sitting through over 2 hours you will walk away with grief in your heart and feeling so emotionally disconnected with all the characters that the message of the movie will probably be lost. This doesn't mean that the actors didn't do their best to convey the grief, sadness and loneliness they were experiencing. It's just that the movie feels contrived at times and the story (actually stories) is too bleak and even boring at times to be memorable. All in all, Babel is not a great movie although it has the elements of one but they just don't come together.

Should have been called Babble.

Cuz that's all Innaritu did, just babble some pointless stories. I'm a fan of his work, and loved 21 Grams, but this has to be one of the most disappointing pieces in a long time. 2 1/2 hours of my life I want back. This is supposed to be a film about communication. It really isn't. The Brad Pitt/Cate Blanchet storyline delves nowhere into themes of communication. They are even able to freely communicate with the villagers where they are stranded. The deaf-mute Japanese girl storyline is way too obvious. And kinda kinky. But in the end, in a really sad angsty emo kinda way. Made me throw up in my mouth a little. The Morroccan family with the rifle storyline? it kinda went nowhere fast, and forces you to watch a pre-pubescent boy masturbate to thoughts of his little sister naked. It added absolutely nothing to the film. Maybe an homage to Bertolucci? lmao The Mexican nanny storyline definitely had the best acting. And the most tension. However, the plot is ludicrous, and what is an attempt of commentary on the illegal alien situation in America falls flat, due irrational behaviour on part of the characters. Their decisions are their dooms. There is no miscommunication here. Thus no theme of communication. And if, as Innaritu claims, this is a film about communication, then wtf? We have no film. We have Brad Pitt propping us some lame melodrama with vacuous star power. Worst Film of 2006.

GO SEE CUARON'S: CHILDREN OF MEN, INSTEAD

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

I wish I could tell you to just go read my review of 'Crash' but IMDb's 10-line rule prevents me from doing so. So here we go, then:

The stories are incredibly simplistic, with barely enough content to satisfy a 45 minute TV show – father gives his kids a gun, they accidentally shoot somebody and are arrested by the police; a woman is shot and her husband waits for help to arrive; housekeeper takes kids to wedding in Mexico and gets lost in desert crossing back over the border; Japanese teenager wanders around Tokyo without underwear. That's it. Whatever complexity 'Babel' possesses is the result of the random intercutting of these stories, not from the individual stories themselves. The fact is that you could take three random Janet and John 'plots' and cut them together to provide the illusion of post-modern deconstructed complexity. It's the cinema equivalent of the Emperor's new clothes, and for some reason, every critic in town is happy to marvel at the new duds.

Like 'Crash', 'Babel' is an actor's movie. It gives them an opportunity to cry and rage and play vulnerable and desperate, which all involved do very well. Brad Pitt gets to pull a Charlize Theron and play 'ugly' for Oscar consideration - graying hair, bags under the eyes, and crow's-feet. The lengths some actors will go to for their art! But the emotional hysteria, which Inarritu cranks up to outrageous proportions, is allowed to replace character development. Few characters actions seem rational, many are completely irrational, and you don't feel any connection to their plight beyond the fleeting sympathy for a sad looking face.

But it's this kind of sappy, over-emotional, manipulative storytelling that the Academy loves to get behind. Actors love it because it features the kind of roles they'd all kill for. Director's love it for its liberal, multinational, lets-all-hold-hands theorizing. Producers love it because it reinforces their belief that foreign accents, playing 'ugly' and crying a lot wins awards.

Inarritu has a lot of talent, but it seems wasted on a self-indulgent and vaguely teenage-Goth-activist obsession with the cruelty and injustice of the world. It's a far better film than the risible nonsense that was 'Crash', but it falls a long way short of the praise being heaped on it by many critics.

Expect it to win, however, several Oscars.

There is nothing coincidental about the human connection but if you're interested in finding a reason for it, for them - you would have to dig into your spirit. It was meant to be and it was meant to be in the way that it unfolds, no matter how absurd, how contradictory, how seemingly coincidental. I don't know anything about Alejandro Gonzalez Inarritu, other than he is one of the most extraordinary filmmakers to emerge in the 00's, but I suspect he has the soul of a Christian prophet, the mysticism behind the realism of his stories reek of God and of New Testament. Amores Perros, 21 Grams (the weight of the soul, remember?) now Babel the famous, or infamous biblical tower. Gonzalesz Inarritu has put together an immediate universe populated by incomprehension and humanity shaken and wrapped in a bloody cloth of the purest linen. His images will remain with me forever in particular Adriana Barraza's moment with the American kids in the desert. A total triumph.

Babel was a very unique movie. And I was engaged mostly throughout. It does run a tad long but because there are multiple intertwined stories none of them feel too long individually. However, as the stories come together and you start to fill in the gaps you also start to ask why? What is the point? I definitely enjoyed this movie as a whole, but I will probably not watch it again. It was worth a try but to me falls a bit flat.

Each individual story deserves its own screen time and I applaud the movie makers for their abilities in such, but the sum of the parts feel like they don't add up to the value of the individual pieces.