“Babylon” (2022) directed by Damien Chazelle, is an ambitious and audacious film that explores the turbulent and hedonistic transition of Hollywood from the silent era to the talkies. Chazelle, known for his work in “Whiplash” and “La La Land,” continues his love affair with the world of entertainment, but this time, the tone is darker, the emotions more chaotic, and the commentary biting. “Babylon” is an unrestrained homage to both the glories and grotesqueries of early Hollywood, a place where dreams are born, but also where lives are destroyed in pursuit of fleeting fame.
The film opens with a raucous, over-the-top party scene that immediately sets the tone for what is to come. It’s a bacchanalian frenzy of excess: drugs, sex, and jazz music fill the air, with characters indulging in their vices. The scene thrusts viewers into the heart of 1920s Hollywood, where the glamour on the surface belies the rot just beneath. Chazelle does not shy away from showing this duality, and it’s clear from the outset that he’s aiming for an epic that exposes the destructive power of fame and success.
The plot weaves together the stories of several key characters, each of whom embodies a different aspect of Hollywood’s complex nature. Brad Pitt plays Jack Conrad, a silent film star whose career is at its peak but is about to face obsolescence with the advent of sound. Pitt’s performance is charismatic, full of the bravado and swagger expected of a leading man of his stature, but he also brings a palpable sense of melancholy to the role. Jack is a relic of a bygone era, clinging to his fame as the world around him changes. Pitt manages to capture the simultaneous thrill and terror of someone who knows they’re nearing the end of their reign, a figure of pathos beneath the swaggering exterior.
Margot Robbie shines as Nellie LaRoy, a rising star whose meteoric ascent mirrors the chaos of Hollywood itself. Robbie’s portrayal is fiery and unrestrained, embodying the wild, anarchic energy of a woman who has no intention of playing by the rules. Nellie’s rise to fame is fast and thrilling, but like so many stars, her downfall is equally swift and brutal. Robbie’s performance is captivating, bringing depth to a character who could easily have been a mere symbol of Hollywood’s destructive tendencies. She conveys both Nellie’s hunger for fame and her growing desperation as she realizes that fame comes at a cost.
Another standout performance comes from Diego Calva, who plays Manny Torres, a Mexican immigrant with dreams of making it big in Hollywood. Manny is the audience’s entry point into this world of excess and ambition, and his journey is both compelling and tragic. He starts as an outsider, wide-eyed and eager to be part of the magic of cinema, but as he climbs the ranks of Hollywood, he becomes increasingly complicit in the very corruption and exploitation that he once admired from afar. Calva brings a quiet intensity to the role, and his character’s arc is perhaps the most emotionally resonant in the film.
The film’s depiction of early Hollywood is both awe-inspiring and deeply critical. Chazelle clearly has a love for the art of filmmaking, and this is evident in the film’s lush cinematography and lavish set pieces. The sweeping camera movements and grandiose set designs are a feast for the eyes, transporting the audience to a time when Hollywood was larger than life. However, beneath the spectacle, Chazelle also critiques the industry’s dark underbelly. Hollywood is portrayed as a place where people are chewed up and spat out, where dreams are shattered as quickly as they are realized. The excesses of fame are shown to be both intoxicating and deadly, and the film does not shy away from showing the personal toll that stardom takes on its characters.
“Babylon” is also a film about transitions—both personal and historical. The shift from silent films to talkies serves as a metaphor for the broader cultural changes happening in the 1920s and 30s. As technology advances, the old guard is pushed aside, and new stars rise to take their place. The film captures the anxiety and uncertainty that comes with such change, both for the individuals involved and for the industry as a whole. Chazelle explores the idea of obsolescence, not just in terms of careers, but in terms of human lives. The characters in “Babylon” are constantly grappling with their own impermanence, whether it’s Jack Conrad coming to terms with the end of his career, or Nellie LaRoy realizing that fame is fleeting.
The film’s chaotic energy is both its greatest strength and its greatest weakness. On the one hand, Chazelle’s frenetic pacing and unrestrained style perfectly capture the madness of Hollywood in the 1920s. The film’s excess mirrors the excesses of the era it depicts, and there’s a sense of delirium that runs throughout the narrative. However, this also means that at times, the film feels overwhelming and unfocused. The sheer number of characters and subplots can make it difficult to fully invest in any one storyline, and the film’s nearly three-hour runtime can feel indulgent.
Chazelle’s choice to depict Hollywood as a place of both beauty and horror is also reflected in the film’s tonal shifts. “Babylon” swings wildly between moments of comedy, tragedy, and outright grotesquery. There are scenes of slapstick humor and absurdity, such as an early sequence involving an elephant at a party, but these are juxtaposed with moments of real darkness and despair. Chazelle seems intent on showing that Hollywood is a place of extremes, where the line between success and failure, pleasure and pain, is razor-thin. This tonal whiplash can be jarring at times, but it also serves to reinforce the film’s central themes of excess and instability.
The score by Justin Hurwitz is another highlight of the film, perfectly capturing the frenetic energy of the era. Hurwitz, who has collaborated with Chazelle on all of his previous films, delivers a jazzy, energetic score that propels the action forward and adds to the sense of chaos and unpredictability. The music is at once exuberant and haunting, mirroring the film’s exploration of the highs and lows of fame. Hurwitz’s score becomes a character in its own right, guiding the audience through the emotional highs and lows of the story.
One of the film’s most striking aspects is its unflinching depiction of the consequences of fame. While the characters initially revel in their success, it soon becomes clear that the price of fame is far higher than they anticipated. Jack Conrad’s fall from grace is particularly poignant, as he grapples with the realization that the world he once dominated is moving on without him. Nellie LaRoy’s descent into addiction and self-destruction is equally tragic, as she becomes a victim of the very industry that once celebrated her. Even Manny Torres, who starts out as a starry-eyed dreamer, finds himself disillusioned by the end, having lost his sense of purpose in the pursuit of success.
Chazelle doesn’t shy away from showing the ugliness of Hollywood’s exploitative nature. The film touches on issues of racism, sexism, and the commodification of human beings, highlighting how the industry has always been willing to sacrifice individuals for the sake of profit. Manny’s experience as a Mexican immigrant trying to navigate a predominantly white industry is particularly poignant, as he is constantly reminded that his place in Hollywood is tenuous at best. The film also critiques the way women, like Nellie, are used and discarded by the system, with little regard for their well-being.
Despite its many strengths, “Babylon” is not without its flaws. The film’s relentless pace and over-the-top style may alienate some viewers, and its sprawling narrative can feel unwieldy at times. There are moments where the film seems to lose focus, particularly in the second half, where the various subplots start to compete for attention. Some characters, like Jean Smart’s Elinor St. John, feel underdeveloped, despite being positioned as key players in the story. Additionally, the film’s portrayal of Hollywood’s darker side, while effective, can sometimes feel heavy-handed, with Chazelle hammering home the same themes repeatedly.
Ultimately, “Babylon” is a film that swings for the fences, and while it doesn’t always hit the mark, its ambition and audacity are undeniable. Chazelle has crafted a sprawling, chaotic, and deeply cynical portrait of Hollywood, one that celebrates the magic of cinema while also exposing the industry’s many flaws. It’s a film that revels in excess, both in terms of its subject matter and its execution, and while that excess can be exhausting at times, it’s also what makes the film so memorable.
For all its flaws, “Babylon” is a film that lingers in the mind long after the credits roll. It’s a visceral, uncompromising look at the highs and lows of fame, and a reminder that for every star who rises, there are countless others who are left behind in the wake. Chazelle’s Hollywood is a place of both dreams and nightmares, a land of opportunity where the price of success is often far higher than anyone could have imagined. Whether you love it or hate it, “Babylon” is a film that demands to be experienced, a wild, unrelenting ride through the heart of America’s dream factory.
