With ‘Babylon,’ director Damien Chazelle reimagines 1920s Hollywood as a party teetering on the brink of an abyss.
Maybe Chazelle deliberately set out to graft Anderson’s template onto a different milieu, or maybe it’s just a coincidence. Either way, the comparisons are glaring, to’s significant detriment. A far cry from Anderson’s steady control, Chazelle jerks and yanks his film all over the place, jumping from scatalogical humor to wistful nostalgia within the space of a few minutes—sometimes even seconds.
His cast of characters is rough hewn and archetypal at once: a wide-eyed newbie , a wayward ingénue , a faded legend reaching the end of his run . We get to know these people only for what they stand for; Chazelle is too busy overloading his film with stylistic flair and tiresome sight gags to draw full characters.is unfocussed and overeager, continuously distracted by the burst of a new idea.
Chazelle hasn’t been to the moon, and yet he staged a magnificent, haunting scene on that lonely rock in 2018’s. But that film had the benefit of trafficking in augustness, in transcendence. The squalor ofdoesn’t suit the filmmaker’s sensibilities so well, no matter how many torrents of shit, piss, vomit, and blood he sends shooting across the frame.
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