Window Water Baby Moving

Some amazing footage of the birth of Brakhage's 1st child, shot with great explicitness, with no holding back- we see the 'birth' of the placenta, the baby crowning, etc. And while this is as explicit a birth as I've seen, the setting (at home) and the feeling of intimacy make it anything but clinical, or exploitive. It's really quite sweet.

On the other hand, Brakhage's insistence on rapid jump cuts, self-consciously oblique angles, etc worked in the other direction, pushing me away from a straightforward emotional experience. Which was, of course part of the intent. In making it not a documentary, but a subjective, somewhat surreal film, it seemed to be trying to go beyond a simple well-made telling. For me that worked well at times, but at others I'll admit to longing to finding the effects frustrating and not understanding exactly what they were trying to communicate emotionally or intellectually.

Beyond it's merits as a film, it was also important in that this kind of footage simply didn't exist at the time. It was initially seized by the Kodak lab, and Brakhage had to get a note from the doctor involved explaining it wasn't pornography (!). The film was part of the beginning of the movement towards accepting childbirth as beautiful and without need to be hidden, that fathers can and should be in the room to witness and take part, and that big white hospitals aren't the only place to have a baby. So it had an impact on a social as well as a cinematic level.

"Window Water Baby Moving" is possibly influential experimental filmmaker Stan Brakhage's most well-known film. In this masterpiece, he simply documents the birth of his first child. And it is possibly the greatest film he's ever made.

To be fair, I haven't seen Brakhage's "Dog Star Man", which also looks like a masterwork, but whether or not it is truly his best film, it is still a beautiful film.

Stan Brakhage uses his normal fast paced, experimental editing that has been used in his other documentary works (ex. "The Act of Seeing with One's Own Eyes"), as well as some very artistic, and highly experimental, camera-work. Brakhage's documentary films aren't just simple home movies, but great works of art, just look at the film! Every shot is an artistic masterpiece, and it is a truly great document of life and love.

Although the film uses highly graphic imagery to tell it's story, it is really a sweet document. Yes, the birth is shown in EXTREME detail, but, at the end, you see how loving these new parents are. The mother (Jane Brakhage) holds her newborn in her arms, and the father (Stan Brakhage) looks greatly excited and happy, he's hoping up and down, with a great smile on his face.

Stan Brakhage has proved himself, in my opinion, to not only be one of the great experimental filmmakers, but of of the great documentary filmmakers, as well.

While many women cringe at the thought of child birth and would never want to go through it, other women love children and are more than delighted to deliver a baby. I am a male, so I don't really have a true opinion, but I would really like to have a child someday. This film is essentially the birth of experimental filmmaker Stan Brakhage's first child. We witness his daughter being born without the sugarcoating or hiding the act. We see the birth in all of its glory. Many viewers will be nauseated with the sight, but others will be honored. This film is amazing because we see life actually being given and it is amazing. The human body is very complex, and the birthing process doesn't hide this fact. This is a film that people will watch for the ending. The ending makes the whole process worth it as the child turns out beautiful and We as viewers are treated to a loving sight of the child living and very healthy looking. This is the sweet side of Stan Brakhage. Usually his films involve the viewers in the difficulty of trying to figure out what he is trying to say, but this film is almost like a reward to the viewer. Children are beautiful and it is strange to realize that in twenty years, they will be running the country.

(I watched this film as part of the DVD short film collection of Stan Brakhage entitled, BY BRAKHAGE: AN ANTHOLOGY.)

i liked his filmic style at first, his use of jump cuts and sped up footage was effective in portraying the woman's fear and angst although she looked calm on the outside. it also elevated the importance of the action of giving birth.

but i don't think the lingering graphic shots of the vagina bleeding did anything for the film and took me out of the rather mysterious tranquil feeling given off by the film previously.

he certainly knows how to make a film affecting but i won't want to watch it again and i don't think it conveyed any of the actualities of birth, the beauty and the miracle.

You ever see that cliché happening, if not in TV or movies then in real life, of the husband documenting every single excruciatingly painful but miraculous happening that is birth? Apparently, according to Stan Brakhage on the DVD this film is on, this trend was at least in part inspired by his original efforts. Shot on a minimal budget (save for what it must've cost to have a birth in the Brakhage household as opposed to the hospital), this film IS the difference between a simple 'home movie' and something close to the most personal art possible. Documentary film-making has always been about a subject that compels the filmmaker enough to get hours and hours of footage down. That here Brakhage, who often does montage work of paintings and the like, is focusing his subject matter on his wife, and his child just itching to get out, in all graphic detail, is astounding. For the 60's, when this was first released, it was probably a lot more shocking than now.

Not to say that the film isn't shocking, but it is on a different level than what you might see on one of those 'birth' shows on one of the Discovery channels. The way certain things are presented in the film are surprising, and (if you're a guy like me) definitely unnerving. But Brakhage somehow makes his film almost beautiful in a way by cutting the film's subject matter in half, so to speak. The first half is just the mother of his child, in a bathtub, feeling the baby kicking, et all. It's really just a great montage of the woman as a whole, nothing unseen, with the belly getting the most screen-time aside from the mother's face and genitals. Then comes the second part, the birth. Basically, if you still wonder how it works, in near unflinching detail, watch the film. That it is presented in such a grainy 16mm kind of filming, and still using the intense, mad montage of Brakhage's two cameras on her (I think it was two, one more close to the 'action' than the other).

And when it ends, it is, like all (practically) successful births, a miracle in and of itself. So much happens within these 13 minutes of film than, in a way, it feels longer. I loved how it dealt with its subject matter, which could be very tricky, and messy (the latter of which is very true), and was still a wonder for the eyes. It lacks music, which is sort of a pro and a con for me- you could do with some music, make it even more home movie-like. As it is, Brakhage has one of his most notorious- and possibly best- works here, and maybe the only film that makes that bridge between a health class and film class in school.