Set in 1920s Hollywood, Babylon introduces us to ambitious individuals navigating their ascent, such as the rising star Nellie LaRoy (Margot Robbie) and the driven Many Torres (Diego Calva). We also encounter Jack Conrad (Brad Pitt), an aging star contending with both professional and personal decline. Their lives intersect and diverge, illustrating that the pursuit of luxury and fame is far from a straightforward journey.
Director and screenwriter Damien Chazelle achieved prominence with the musical La La Land, which I enjoyed, followed by The First Man, which I found less compelling. He only directed the latter, not contributing to the script. The arrival of Babylon piqued my interest, given Chazelle’s dual role as both director and screenwriter.
Babylon distinguishes itself as a visually stunning film, largely due to the filmmakers’ emphasis on practical effects and in-camera techniques, minimizing reliance on computer-generated imagery. The performances, particularly those of Brad Pitt and Margot Robbie, are exceptional, and Diego Calva delivers a noteworthy performance as Many Torres.
Director Spike Jonze (Her, Being John Malkovich, Adaptation) delivers a remarkable cameo in Babylon, portraying an eccentric German director. His scenes are a definite highlight.
The score by Justin Hurwitz is undeniably memorable, blending classic jazz elements with modern arrangements to create a distinctive soundtrack. Furthermore, Linus Sandgren’s cinematography is truly exceptional, a point I will elaborate on later.
A significant drawback of Babylon is that despite its impressive production quality, the narrative and direction falter. The film’s runtime, clocking in at three hours and nine minutes, is excessive. The story’s complexity does not justify such an extended duration. While the pacing remains consistent, certain sequences feel unnecessarily prolonged. The appearance of the film’s title after approximately 30 minutes underscores the inflated runtime.
Another point of contention is the film’s rapid oscillation between serious and farcical elements. Moments intended to evoke emotional resonance are immediately followed by scenes of questionable taste, such as an elephant defecating on a character.
Chazelle’s difficulty in crafting a satisfying conclusion is evident, resulting in a peculiar third act. This further reinforces the notion that a shorter runtime would have greatly benefited the film.
A redeeming quality is the high-quality UHD edition available for Babylon. The image is presented in pristine 2160p with a consistently high bit-rate. The film’s intricate details, as well as the interplay of light and darkness, are faithfully reproduced in every scene. Black levels are deep, and the color palette is rendered accurately. Linus Sandgren’s outstanding cinematography is showcased to its full potential. The Dolby Atmos sound design is equally well-executed, with the music creating a palpable sense of immersion. The opening party sequence and a scene depicting Robbie’s character during a film shoot are particularly noteworthy for their impressive soundscapes.
While I have frequently expressed disappointment regarding the absence of bonus content in reviews, Paramount delivers on this occasion! A dedicated disc is included, featuring a half-hour documentary, deleted scenes, and other supplementary material.
In conclusion, Babylon is a largely entertaining and well-made film that is ultimately undermined by its excessive length and a flawed final act. The exceptional UHD edition enhances the overall viewing experience, making Babylon on Ultra HD a worthwhile recommendation.
SF Studios provided the review copy for this assessment. The provision of materials does not influence our editorial independence; we maintain an objective perspective, prioritizing the interests of our readers and consumers.
