‘Babylon’: Despite Strong Performances & Gritty Social Commentary, This Reggae Restoration Ultimately Disappoints [Review]

Can you count the number of times you’ve heard someone use the phrase “hidden gem” or “cult classic” in reference to movies that do not deserve these titles? Chances are if you hang around the type of people whose ears perk up when they hear the words “eighties restoration” or “never released in the U.S.,” the statistics probably number in the thousands. Just for the sake of saving you time in the future, here’s a quick warning—do not be fooled by these buzz words. Granted, there are genuine cult classics and hidden gems to be found in this world (If you still have not watched “Good Time” yet, what are you doing with your life?), but “Babylon” is unlikely to claim either label.

As the introductory mesmeric notes of its trancelike soundtrack hit your eardrums, you would not be blamed for initially assuming “Babylon” might be a long-forgotten classic in the making. Originally released in Europe circa 1980, Franco Rosso’s debut feature briefly bounced around the festival circuit, but was never distributed in the United States, and quickly faded into the obscure underbrush of independent British films. The newly restored film follows a group of young black Londoners as they battle with violent racial tensions and struggle with self-identity within the reggae scene. As the days leading up to an oncoming concert slowly tick away, pressure builds and tempers flare, forcing the youths to come to terms with themselves and their existence in a society that does not want them there.

Within the walls of “Babylon,” social commentary reigns supreme. Fully equipped with free-flowing patois slang and impenetrable Jamaican dialects, “Babylon” operates as a grit-covered examination of race-based prejudice through the passionate appreciation of a marginalized subculture. The film keeps its roots resolutely embedded in the derelict alleyways and dilapidated warehouses of West London’s dingy underbelly, allowing bleak environments to complement the characters’ gradual descent from hopeful youths to cynical men. Urban conflict collides with the dreams of the working class to form a writhing, hypnotically paced drama that seeks to shine an unflinching light onto the transgressions of human nature.

The soundtrack, comprised of self-described “reggae, dub, and lovers rock tunes” from the likes of Aswad, Johnny Clarke, and Jah Shaka, morphs London into a hazy kaleidoscope of metropolitan decay and fragmented memories. As its premier stylistic trademark, “Babylon” certainly does not sound like most movies released in the ’80s, and is a far cry from the majority of soundtracks that have popped up since. Echoing vocals and disjointed rhythms pulse beneath its flesh like a dreary, acidic lifeline, coinciding with murky camerawork that sways through cracked cityscapes. Visually, “Babylon” imparts a palpable sensation of authenticity that falls more in line with a documentary than a fictitious drama.

Nevertheless, the film’s commendable intentions never quite meet the sloppily nuanced, emotionally void execution that strips “Babylon” of any noteworthy merit. The performances from the leads (with special attention paid to Brinsley Forde as Blue, the protagonist) stand out as the driving force behind the unfocused, frequently sidetracked energy that propels the narrative forward. An endearing sense of camaraderie and upbeat optimism balances out the destructive reality that awaits the characters, and despite remaining locked in a passive state for two acts, the conclusion sheds its indecisive skin and delivers an ending that, albeit abrupt, is decidedly downcast and earns every drop of its melancholy aftertaste. An apocalyptic inkling of doom constantly boils beneath the streets of “Babylon,” although viewers are never treated to any rewards that even skim the surface of thought-provoking substance.

Generally speaking, “Babylon” is a glorified workprint—a grimy flick equipped with a feverish pitch that desperately strives to scream something profound, but loses its voice in the aftershock of choppy pacing and an aimless plot. Yet, what the film offers modern-day audiences is perspective, as embarrassingly relevant as it might be. The racial unrest and respective societal causalities that operate as the movie’s thematic fodder, although not as prevalent, still endure to this day; with nearly four decades to its name, “Babylon” manages to provide a harrowing status report on the subjective lack of progression pertaining to race relations.

Nevertheless, “Babylon” is not controversial enough to warrant any admonishment; it is not bold enough to deserve any accommodation; nor is it eccentric enough to earn any acknowledgment. In short, “Babylon” is bland and sadly, should be much better. [C]