THE SCOOP Director: Alejandro Gonzalez Inarritu Plot: Tragedy strikes a married couple on vacation in the Moroccan desert, touching off an interlocking story involving six different families. Genre: Drama/Thriller Awards : Won 1 Oscar - original score. Nom. for 6 Oscars - best picture, director, screenplay, editing, 2 sup. actresses. Nom. for Golden Palm (Cannes). Runtime: 142min Rating: M18 for violence, some graphic nudity, sexual content, language and some drug use. IN RETROSPECT Alejandro Gonzalez Inarritu represents a shining lighthouse in today's cinematic world. His approach to filmmaking is stylistically unique, yet thematic in nature. He loves telling stories from different perspectives, weaving them together very elegantly to make a film that sends out underlying messages. Babel represents his third such effort with this distinctive style after 21 Grams , and Amores Perros . I have not seen Amores Perros , but if I could put things...
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Babel
 | Sound (2)3.1 Plot (2)3.2 Cast (2)3.2 Special Effects (1)2.5 Length & Pace (2)3.1 Cinematography (2)3.4 |
Writers: Guillermo Arriaga (written by), Guillermo Arriaga (idea) ...,
Release: 10 November 2006 (USA)
Tagline: If You Want to be Understood...Listen
Plot: Tragedy strikes a married couple on vacation in the Moroccan desert, touching off an interlocking story involving four different families.
Cast: Brad Pitt - Richard Jones, Cate Blanchett - Susan Jones, Mohamed Akhzam - Anwar, Peter Wight - Tom, Harriet Walter - Lilly, Trevor Martin - Douglas, Matyelok Gibbs - Elyse, Georges Bousquet - Robert, Claudine Acs - Jane, André Oumansky - Walter, Michael Maloney - James, Dermot Crowley - Barth, Wendy Nottingham - Tourist #1, Henry Maratray - Tourist #2, Linda Broughton - Tourist #3
Runtime: 143 min
Country: France
Language: English
Company: Paramount Pictures
Links: IMDb Profile
Categories: Drama
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** USA Writer-director team Guillermo Arriaga and Alejandro González Iñárritu had nowhere to go after this, the climax in their celebrated series of connect-the-dots challenges with a progressively inflated sense of heft. From the get-go the picture takes up a pitch of grandiosely hushed hysteria - children! with guns! - and holds on to it like a destitute mother to her still-born child. So much happens across the four interconnected stories in this movie - every photogenic kind of pain and suffering - and in the end the feeling is that nothing really happened. All of the various sufferings come off as interchangable - not because of any slap-my-forehead we-are-all-connected epiphany, but because every batch of violent sobbing and high misery is driven by the same person's (or persons') sadistic, self-aggrandising urge to look profound.
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