I am loath to criticize Babies, lest anyone misconstrue my comments about the film as criticism of the actual babies in the film.  The babies are adorable and wonderful, and perfectly cast as adorable and wonderful infants. At times this film is exciting, moving, funny and provocative.  Although the film has many wonderful moments, in its totality it is a bit dull. It would make an interesting PBS television special, but it doesn’t really succeed as an entertainment experience requiring the purchase of a ticket.

This documentary follows the first year in the lives of four babies (Bayar, Ponijao, Mari and Hattie) from four vastly different places on earth (Mongolia, Namibia, Tokyo and San Francisco).  We occasionally catch glimpses of parents or hear the few words they speak to the babies, but there is no real dialogue or narration; it is just the babies. We see them as newborns, and watch as they learn to crawl, smile and walk. Bayar lives in a Mongolian dwelling with his farmer parents and brother and spends a lot of time outside with the animals. Ponijao also spends most of the film outside in the African dust with her mother, siblings, other females and animals.  Although Mari lives in a Tokyo high-rise and Hattie lives in a San Francisco house with a hot tub, both live similar baby lives. Mari and Hattie are both only children in big cities, both rarely spend a minute alone and both attend classes with their parents.

All of the babies in the film seem happy and loved, despite the dramatic differences in wealth and culture.  Do we frown on the excess in the modern and wealthier cultures? The baby in Tokyo visits animals in the zoo. The baby in San Francisco goes to some kind of meeting where the babies sit in a circle with their parents while the adults chant, “The earth is our mother and she will take care of us.” Yet it is the babies in Mongolia and Namibia who interact with nature on a daily basis, whose parents raise cattle and remove animal entrails while the babies look on, who spend much of their time playing with rocks, sand and dirt. But it is hard not to have a visceral reaction while watching Ponijao’s head being shaved with a knife, watching Ponijao drink muddy water, watching Bayar be alone and surrounded by cattle, and watching flies and insects land on these babies.  I worried about the lack of clean drinking water and the safety of these two babies in Mongolia and Namibia.

The trailers for the film show the best scenes in Babies, and perhaps the filmmakers want to make the point that all babies are the same wherever they live.  It is somewhat thrilling to watch all the babies learn to say the equivalent of “mama” and watching them crawling and laughing.  We feel for Bayar and Ponijao when they cry when teased by their siblings. We share Mari’s frustration when she cries at being unable to put an oval block in a hole, and feel bad for Hattie when she is afraid of the hot tub. But if you see this film, be prepared to spend time listening to babies cry.  Even though the film  looks beautiful and is only 79 minutes, if feels at least 20 minutes too long. Although I enjoyed parts of it, I found it unsatisfying. Yet the conversations I have had about the film have been more interesting than most conversations I have about films. In some ways, our reaction to this film is more interesting than the film itself. What is the price we (and the babies) pay for excess or poverty? Are modern parents too overprotective or are babies who are not so protected in danger? The film does not attempt to answer the questions, it only suggests them. Perhaps that is part of the point.

While watching Babies, I found myself wondering if most babies would like this film. It has many elements babies would enjoy. The film is shot low, at baby level. The film has many scenes of nipples and babies nursing, as well as babies peeing and pooping.  All four babies interact with pets, play with toys and learn. Babies have no need for context or narration, so unlike me and some other adults, they would not miss those elements here. Babies will be content to let the adults determine if this film has any deeper meaning.

Babies ( Bébé(s)).  Directed Thomas Balmes.  Bayar (Self), Hattie(Self), Mari(Self)and Ponijao (Self). Focus Features, 2010.

Gail sees a movie appears every Wednesday.

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