Retro Film Review: Casa de los babys (2003)
John Sayles established a reputation as an independent filmmaker by addressing the intricate racial and social issues of contemporary America in a manner that defied both Hollywood conventions and the simplistic approaches of Hollywood Limousine Liberals. His films featured a multitude of characters, each often symbolizing a specific social group, whose everyday experiences unveiled truths that America and the world often chose to overlook, particularly during the Reagan and Clinton eras. However, during the George W. Bush administration, when anti-American sentiment became prevalent globally, Sayles' approach lost some of its innovative edge, resulting in a series of disappointing films, including his 2003 drama Casa de los babys.
Set in an unnamed South American country grappling with a severe economic crisis that compels many mothers to give up their children for adoption, the film explores this burgeoning industry, notably through Señora Muñoz (portrayed by Rita Moreno), the hotel owner overseeing six American women awaiting the completion of the adoption process. The narrative loosely follows these women, offering glimpses into their lives and personalities, as well as those of the surrounding individuals, such as illiterate street children, young maids, and unemployed men seeking fortune through the lottery.
True to Sayles' signature style, Casa de los babys skillfully introduces a diverse array of characters, each representing a distinct societal segment, gradually unveiling their personal secrets and intertwining them within the broader narrative. The strong ensemble cast, featuring veterans like Moreno, indie cinema icons such as Lili Taylor, and emerging talents like Maggie Gyllenhaal, enhances this effect. Sayles adeptly employs a semi-documentary shooting and editing style to immerse the audience in the story.
Regrettably, Sayles struggles to fully develop the myriad characters, leading to an abrupt conclusion with underdeveloped subplots and characters, alongside some overly long and pretentious scenes. The film lacks a cathartic resolution, leaving viewers with a sense of reading a political manifesto rather than experiencing a nuanced cinematic exploration. The oversimplified portrayal of rich, white Protestant Americans as the root of global injustices and Third World inhabitants as helpless victims falls short of Sayles' usual depth, lacking a constructive approach to addressing these complex issues.
RATING: 5/10 (++)
(Note: Original version of the review is available here.)
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