The Baby of Mâcon

This film was shown at the Cannes film festival nearly a decade ago and apparently received more walkouts than any film in the festival's history--and "Wild at Heart" won the grand prize here?

Unlike most films that use sex and violence to help sell them, Greenaway seems to have no interest in "selling". The story he tells--which takes the form of a play attended by royalty and commonfolk alike--is a Shakespearian fable regarding a young woman (Julia Ormond) who uses her disfigured mother's newborn as a messiah-like figure to gain wealth and comfort, much to the dismay of the church (repped by Ralph Fiennes).

To say that the writer/director of this film is a sick person because of what happens in the story is shortsighted, at best. Yes, there are truly heinous atrocities committed by some of these characters--but the manner in which it is depicted does nothing to suggest glamour or vicarious thrills. David Lynch's Golden Palm winner, on the other hand, is full of all manner of freaks and malicious acts played mostly for laughs. Greenaway definitely got the soiled end of the stick on this one.

It's a shame, too. This film recently played for just a few nights in one of Chicago's most prominent art theaters. It's never received anything remotely close to a nationwide theatrical or video release, and it's my favorite Greenaway film, second only to "The Cook, the Thief...". If one is interested in this sort of experience and has a fairly strong stomach, I'd recommend a theatrical screening in a minute.

I'm surprised at the common interpretations of this film, and I agree it is incredibly gratuitous in it's manner, but it also reflects that of a modern crisis. Greenaway based this film on his witnessing of the virtual exploitation of youth in mass commercialism, from television to that of city billboards.

The story revolves around an infant who is exploited by a young woman, ultimately for attention, by claiming the child as being holy and that God speaks through him (the voice being that of a man plainly seen, hidden up near the rafters. Quite brilliant production settings I think). What begins as a sudden rise to fame for her soon starts to unravel leading to an eventual murder, and her quick descent into hell (as explained by the other reviewers).

The production values are simply superb in it's theatre settings with either minimalist action and wonderful dialogue, or a stage filled with constant movement and flair, (and wonderful dialogue). The subdued, yet bright colour's throughout, and morbid setting's reflect perfectly that of an intoxicating period of history, and really makes one glad that they dont exist in this corrupted, horrific environment. As said elsewhere, you can almost smell the stench.

The acting is absolutely brilliant, from Ormond as the child's disturbed mentor to her eventual lover "The Bishop's Son" Fiennes. I truly can't understand how one of the reviewers would consider this to be a low point for Fiennes, as, if I were in his position, I would be truly proud of the performance given and the content of this wonderful film. It's morbid, but gives much at the same time to the imagination.

It's a shocking film nearly all the way through but I think that's just one of the factors that contributes to it's success and it's portrayal of a truly bloody and socially immoral period of time and context (especially for the classic theatre settings) Any other way would have detracted from the subject. The ending has never left my mind. I love this film.

10/10.

This film is simply a masterpiece, the ultimate experience in visual poetry. If I didn't think Greenaway was a master film maker before, I certainly did after viewing The Baby of Macon.

His use of the Camera is stunning, I believe it is the closest thing to perfection in reference to the Camera, Actor and Stage. There were so many moments of genius throughout the Film that I was overwhelmed and had to see it a second time to soak it all in.

He has captured the era, the aura, the atmosphere of the subject better than anything I have seen before. The script was a work of Art, the blending of Vulgarity and Beauty, from the spoken word to the lavish colours and movement captured on Film, a true masterpiece in every sense of the word.

Yes, I highly recommend this Film, it has volumes to say, if you desire a deeper, fulfilling feast of mind and heart. Everything a Greenaway fan could want, and more.

This is an astonishing Fiction-Within-Fiction exercise that ingeniously implicates the viewer in the appalling acts of violence on screen. Thus, it is one of the most visceral and sickening movies ever made, but of the highest moral and artistic integrity.

Don't miss it. If you can handle it...

Easily eclipsing The Cook, the Thief, His Wife, and Her Lover as Greenaway's masterpiece. Ormond and Fiennes have never been better. Makes the other films released that year (The Firm, Sleepless in Seattle) look like lukewarm consomme at a spinsterish teaparty. Most powerful and horrifying rape scene since Bergman's The Virgin Spring. Surprised the Christian Coalition hasn't tried to get it banned: full frontal male nudity, infanticide, gang rape. What blood-and-thunder Elizabethan melodrama is all about.