Babylon: Damien Chazelle’s Masterpiece
One of the great societal observations being a lifelong sports fan has granted me is how we handle greatness. Americans love greatness. We embrace it and demand it. However, the admiration is only granted on our terms. The sliding scale of these terms varies by context, person in question, or even the people/person doing the admiring. The greater observation is that the additional requirement for greatness to be properly observed is historical. We are great at reflecting upon past greatness. We struggle to honor current greatness. Usually when presented with true greatness, the type that is wholly unique, our initial response is doubt, skepticism and/or comparative downgrading. Even in our current climate, when cultural discussion and criticism (the scale typically used to classify and contextualize greatness) is driven by hyperbole, we find ourselves constantly missing greatness. This leads us to Damien Chazelle’s latest film, Babylon, which is (and I’m choosing my words carefully) an actual masterpiece.
Masterpiece is one of those hyperbolic buzzwords often overused in this time but is apt in this case. Its overuse is birthed from a fundamental misunderstanding of the word (as is often the case). Babylon isn’t perfect, though it’s pretty damn close. It is not the greatest film of all time. It is a consummate example of skill and excellence. It’s Chazelle’s most ambitious, daring and complete film. One that can leave you awestruck by its presentation and its execution. It dares to be extraordinary and refuses to be predictable and/or plain. Its grandeur is matched by its beauty, but it’s all made possible by the deft hands of its filmmakers. Excellence in craftsmanship, mastery of skill, a true display of filmmaking, and Chazelle’s best work. A true masterpiece.
The pace in Babylon is mesmerizing, and that’s where it all starts. It feels a bit like a fever dream because so much is coming at you, and it never relents. After a short prelude, establishing that this will be a funnier film than he has done thus far, Chazelle sets the tone. A party sequence that is unrivaled by any that came before it. A dazzling, fast-paced and enticing scene that clearly establishes we are in the hands of master filmmakers. Just shy of sensory overload, everything that could possibly be put into a scene is present here. It's Chazelle’s direction that holds it all together. A seamless blend of all parts, perfect cinematography, a showstopping Margot Robbie performance, and entrancing music. This scene sets a cinematic tone while clearly laying the groundwork for the thematic tone as well.
Throughout his career, Chazelle continuously produces dazzling set pieces. La La Land’s opening “Another Day of Sun”, the moon landing in First Man, the “my tempo” sequence from Whiplash, each of which blends ambition, creativity and skill to create a beautiful cinematic spectacle. Each scene in Babylon feels like this. Each scene one upping itself, leading to a climax that mirrors the rest of the film matching its cinematic beauty with thematic beauty. Not one scene feels like any other, but all still tie together. Chazelle’s love and understanding of film is on film display. Creating, with Babylon, a collage of different scenes tied together to create a beautiful picture.
Babylon is one of many films in 2022 that explores cinema, the filmmakers' love for it and its impact on artists. In that general theme, Babylon isn’t unique from Armageddon Time or The Fabelmans, but it is in the presentation of this theme. Chazelle’s depiction of his love and admiration for cinema (and Hollywood by proxy) is a complicated full depiction. One that deeply explores the problematic and destructive allure of Hollywood. It zeroes in on the frustrating and cruel life of the artist and how quickly they can be disposed of. At one time it confronts legacy and how one manages a dying career. In the other optimism and excitement of success and stardom. All while patiently displaying the sacrifices artists have to make for their art. Babylon is a sprawling story that ties each of its characters together with the sacrifice and loneliness that they all have in common. This depiction of love derives its authenticity and truth from its messiness, and in the hands of these masters that messiness is so beautiful.
Rightfully so, Chazelle is getting a lot of praise as the conductor of this symphony, however he is matched in every step by his incredible cast. Margot Robbie is the cover artist, (quite literally depending on which movie poster you’ve seen) and is completely mesmerizing. A controlled wildfire of a performance, Robbie is the most daring in her work. Fully committed physically, emotionally and intellectually, she balances a huge performance with subtle complexity. We see Hollywood and fame further dragging down an already broken person. Her character, Nellie LeRoy, seeks fame out of a desperation to cure her loneliness. Greatness is a means to an end, not her goal. When it fades and everything that was there before remains, we see her completely broken.
Brad Pitt brings another devastating story to life, with Jack Conrad. He is the only one who doesn’t know he’s at the end of his career. Lacking the ability to transition into talkies, his party comes to an end. Desperately trying to maintain his position believing it’s a cure to the loneliness his many marriages couldn’t fix. When it fizzles out for Conrad he realizes he can’t cope. Pitt’s charm fueled melancholy pulls at your heart. He actualizes this feeling of being left behind, left out and left behind in such a relatable way. Jack Conrad isn’t a successful movie star, he is every one of us and that’s because of Pitt’s performance.
The greatest surprise in Babylon is the film’s protagonist (if I dare to say there is one) which is an actor I was completely unaware of, Diego Calva. At times his character, Manny Torres, is an audience surrogate and other times he’s the emotional center. His arc, which is the biggest of the characters, is also the most impactful. Manny isn’t unlike many of us. His love and passion for film drives his desire. A character that feels too sweet and kind for the world Chazelle is crafting, becomes a mere shell of what we grow to love. Corrupted by the power, success and influence Manny only remains grounded by his love for Nelly. A more practical loneliness we can all relate to, he makes even worse decisions for her, aiding in Manny completely losing himself.
It’s also through the eyes of Manny Torres in which Chazelle makes his most impactful point. Film, Hollywood and all that comes with it is complicated. It is sometimes pointless, sometimes hurtful and can truly rip you from who you think you are. It’s the convergence of one’s dreams and the realities that come with achieving those dreams. But no matter what, that original love will remain. That’s what Manny see’s in that screen. His love, his passion and his work all coming together to create something beautiful, a life worth living.
Babylon is debaucherous, crazy, intense and any other adjective you can throw at it. But it’s also wonderful, optimistic and impressive. It’s a movie full of ambition and that ambition is inspiring. Polarization is easy, and with Babylon there is a lot to turn you off. Open your heart to these characters and reflect on the thing you love the most, and you will see the full beauty of what Chazelle did. Babylon isn’t perfect, but art isn’t perfect. The profound doesn’t come from perfection, it comes from the messiness. Babylon’s crazy is why it’s great, because that crazy is beauty. And in it all is masterful filmmaking. Focused, clear sighted and incredible filmmaking. It’s his masterpiece.
