O Bebê Santo de Mâcon

This is one of (if not THE) most controversial films Peter Greenaway has ever made. Having become something of a media darling, first with "The Draughtsman's Contract", but mainly after "The Cook, The Thief, His Wife and Her Lover" and "Prospero's Books" the British media turned against Greenaway when "The Baby of Macon" was released in 1993. This fact is all the more ironic since the central theme of the film is the danger of celebrity and the way in which people are built up so they can be knocked down at a later stage in their careers.

"The Baby of Macon" is not necessarily an easy film to watch and many viewers may not find it to their taste, due in part to the powerful imagery Greenaway utilises within the film. The infamous gang rape of Julia Ormand's character is what everyone comments on, although I think it's very well handled and for the majority of the time the camera focuses on the other characters around the stage (a similar process to the way the camera pans left to a corner of the warehouse when Michael Madsen slices the cop's ear off in Tarantino's "Reservoir Dogs") rather than the rape itself.

It seemed to me at the time (as it does now) that the majority of film critics who dismissed the film missed the point of it all. All too often so-called popular film critics merely discuss films in terms of whether they personally enjoy them or not, rather than examining a director's motives and aims in making a particular film and whether those objectives have been achieved. In my opinion, Greenaway does succeed in hitting his marks in "The Baby of Macon" and manages to make some very important points about society in a powerful and challenging film, which will not however leave the viewer with that 'feelgood' feeling that they get from a film like, say, "Titanic".

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.

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.

I first made Peter Greenaway my "acquaintance" through "Prospero's Books," an equally beautiful and equally compelling film. I have also seen some minor pictures of his, like "The Belly of an Architect" and "Drowning by Numbers" which cannot really live up to the image of "The Baby of Macon." Personally, I believe it is Greenaway's best. It is a play, a performance, where shape-shifting is as spontaneous as breathing, indicating that the world is, at it were, a theater, and we the people are merely actors. "The Baby of Macon" is the tale of the exploitation of a child for profit. A beautiful healthy son is born into a poor family, in a time of plague and bareness, in the old Gothic city of Macon. The child is seen as a mere toy, an opportunity for gain, both by his unnamed sister (so beautifully played by Julia Ormond) and the Church. The sacred Child, identified with Christ, brings riches and prosperity and fruitfulness unto the wretched crowds who live in Macon. But his sister's over-weening ambitiousness and the Church's avarice worsen the matters. The Child is immolated and all is lost. The masque is shown on stage in a doric playhouse in 1650 AD, before the viewers whose desire for pious histrionics is forceful. In due time you cannot possibly tell whether this play is acted or merely actual. You cannot tell whether or not you are in a playhouse or in a Cathedral, or whether this wondrous baby represents an earlier Miracle, born by Virgin Birth in a Nativity in the presence of ox and ass. At the play's apogee you cannot be sure who are the players and who are the viewers. This is Peter Greenaway's most shocking film, a somber "miracle-play" of wonders, semi-wonders, and would-be wonders conceived in an epoch of veritable godliness, but performed in a Baroque era of Religiousness when the fancy is starving for various feelings.

Oh, the humanity! I have deep admiration for the man that is Greenaway. The Baby of Macon is a masterwork that is really above criticism. The imdb reviews are pretty much what I would expect from people who live by the credo "ignorance is bliss". They are shocked. They are apalled. They are horrified. How can this film be viewed as anything less than indulgent maniacal trash, they say.

Well, of course, they must be correct. After all, with all the nudity and curt cursed characters who exist in a red world of servants and oblivious royalty embroiled in seemingly pointless situations.....

Huh?

To sum up, come to Greenaway when you're ready for him. He is so far ahead of modern cinema that he'll be dead 60 years before people start to call him the greatest filmmaker of all-time.

And the nudity? All you "appalled" juveniles are just upset that it is unerotic. You sick perverts.