Birth - Io sono Sean

(Disclaimer) If you like popcorn flicks, and are incapable of thinking during a movie, Birth is not for you, go see The Grudge instead. It may be more your speed.

Birth is a film for the thinker, the moviegoer that doesn't automatically shut down in the theater. This movie had me constantly trying to sort things out all the way through to the end.

I have read a few of the reviews on here and some of you might not be into the whole film-making process. Those that really study film and cinematography; will be treated to a 100 minutes of pure beauty in film-making. I loved how he transitioned between one shot and the next. The one scene that I found surprisingly effective is when he focused on Kidman's face for 3 minutes straight. He chose to use her silent acting abilities as a method to describe her consideration of this strange child. I am a lover of all forms of film, and I'm constantly on the lookout for the next film that gets my mind going. The last film to do that was Eternal Sunshine of the Spotless Mind. Before that, it was Vanilla sky. Both of these films have been less than favored by the mass public. Its strictly because they DO cause you to think beyond "when is the hero going to prevail"

This story definitely did sound silly when I first read about it: a little boy thinks he is the reincarnation of the dead husband of still grieving Nicole Kidman. Mind you, this is a very serious movie without any fantasy or horror elements in it, therefore there has to be a reasonable, logical explanation why this little boy actually thinks he is the reincarnated dead husband. There is a plausible reason though, which of course I wont reveal here. But there is more to this movie, then just a genius plot that has to be unravelled. The acting is really impressive, with continuous suspenseful and emotionally charged mindgames.

Not suited for the impatient ones, because this movie takes it time to unfold, but when it does it was quite emotionally devastating for me personally, because of the impressive true to life acting performance of Nicole Kidman. I didnt get cheery watching it, I didnt get shocked either, but I did get emotionally touched in a profound way near the very end of this beautiful, delicate portrait about grief....

I had heard ALL of the negative reviews and comments on this film but I absolutely adore Nicole Kidman, I knew I'd see this film no matter what people said. I'm SO glad I did.

The story has it's faults. There is no introduction of characters, there's nothing to compare the life of Anna and Sean before to what is happening in the film at the present between Anna and the young Sean and I believe there is a purpose behind that. It could be that the filmmaker wanted to show off Cameron Bright, in the role of young Sean, or it could be that telling that part of the story would hinder the telling of the story in the present. I believe that Nicole Kidman portrayed and gave the audience exactly what her and Sean's relationship meant to her and how it has controlled her all these years. Even at the end you see the pain she is enduring.

I was prepared for the bathtub scene and I have to say that all interaction between young Sean and Anna was very tastefully done. The director put forth a love story. You had to get sucked into it, otherwise you wouldn't get what he was trying to tell.

I would recommend this movie to those who are intellectually inclined. Not to say that you HAVE to be to see it but I think it will be much more appreciated by those who can see past the actual interactions and delve deep into the story being told. If you've ever been in love, a love that encompassed you so deeply, you'll relate to this story for sure.

Even after days of seeing it, I am still intrigued. I actually didn't piece together what occurred at the end until I was walking out of the theatre. Still today I am pondering aspects of it. I'm still feeling poor Anna's pain of loving Sean so much.

Awesome job. I think the young Cameron Bright has a wonderful career ahead of him. He made me believe!

Unusual, compelling drama that almost delivers us to a satisfying finish. A wealthy but emotionally fragile young woman in New York City, still grieving the sudden death of her husband 10 years before, seems ready to try marriage again with a new man until she's approached by a solemn little boy who, in all seriousness, claims to be her deceased spouse. Director and co-writer Jonathan Glazer knows he's treading unusual ground here--and, to his credit, never plays things safe (the word 'reincarnation' is never even uttered). Nicole Kidman is breathtakingly photographed; angular and arched like an elongated pixie, she takes the camera with hypnotic grace. Still, it can be difficult getting a fix on Kidman's Anna; slightly dazed and miles away, she's just beyond our reach. When Anna doesn't grill this gravely serious child on his story, such as demanding proof about who he says he is, she comes off seeming a bit hapless. Anna's family is just as ineffectual: they welcome the boy into their apartment, but instead of asking him questions they give him dessert. "Birth" has a mesmerizing setup, and has been directed with an arty sort of sophistication that primes us for a shrewd and cunning human drama. Glazer's downbeat ending is just tantalizing enough to cause discussion but, ultimately, it's a short-cut around the real issue: that the pieces of this mystery slowly lose their sting after a plot-thread is introduced involving Anne Heche and a box full of unopened love letters (which I didn't buy for a moment). Excellent performances, nevertheless, including Lauren Bacall as Kidman's mother, Danny Huston as the new fiancé, and Cameron Bright as the peculiarly focused and intense lad. Largely overlooked at awards season, though Kidman did receive a Golden Globe nomination for Best Actress-Drama. *** from ****

I remember when it was released in 2004, there was a big hurrah about "the" bath scene, many vitriolic complaints about how slow it was, how not scary it was et al. Birth is many wonderful film making things, of course not all of those things will resonate or enthral many of the movie watching populace, yet there is such craft on both sides of the camera here, and an atmospherically ambiguous bloodline pulsing throughout, that marks it out as a particularly striking film.

Plot finds Nicole Kidman as Anna, who is about to be re-married but finds her world tipped upside down when a young boy (Cameron Bright) arrives on the scene and announces he is the reincarnation of her dead first husband...

Director Jonathan Glazer and his co-writers Jean-Claude Carrière & Milo Addica are purposely being vague, I mean lets face it, the topic to hand is exactly that, vague, and ripe for countless hours of discussion. The film simmers along deftly, meditations on love, grief and anger are skilfully portrayed by all involved. Even a birthing tunnel metaphor doesn't come off as self indulgent, from the off Glazer wants and gets those interested in the story to buy into the hypnotic qualities on show. To jump on board with Anna's fragility while all around her battle for rhyme or reason with her mindset.

In truth it's a hard sell as a piece of entertainment, there's still today, over a decade since it was released, people miffed that the hinted at supernatural elements are not key to the narrative. While the thin line of good and bad taste - and maybe even pretentiousness - is being tested by the makers, but the charges of Birth being dull are just wrong. It never shows its hand, the mystery always remains strong, while Kidman and Lauren Bacall are reason enough to admire the acting craft on show.

Hated by many, inducing even anger in some quarters, Birth is a tantalising picture. A conundrum designed to get a response, for better or worse. 8/10