Watching Damien Chazelle’s “Babylon,” in all its superficially titillating, occasionally exciting and mostly exhausting wretched excess (the orgies, the elephant poop, the contempo acto…
,” in all its superficially titillating, occasionally exciting and mostly exhausting wretched excess , I thought to myself: We’ve been here before, so many times.
— too far out there — in order to return to earth. Each colossal movie failure is different; each one writes its own rules for what not to do going forward. But film directors, who tend to regard each movie they make as if it were one of their own children, are often very protective of their big duds, for understandable reasons. Directing a movie can be an impossible job. Those who make movies need to feel that even the ones that didn’t go over were worth doing.
One of the reasons I think Damien Chazelle is an important filmmaker — the artist he reminds me of most is Spielberg — is that, in each of those three films, he’s crafting a tale of faith. Not religious faith per se, but faith in something that is ardent, total, sustaining. A kind of gaga-eyed belief in the stories he’s telling has been Chazelle’s defining quality as a filmmaker. Which is why “Babylon” is such an overwrought oddball.
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