'Birth' has a mixed to negative critical reaction, although Roger Ebert and Slant Magazine thought very highly of it, and the audience reaction is also very much polarising. Some love or appreciate 'Birth', others disliked it or were perplexed by it.
Seeing 'Birth', count me in as somebody who has high appreciation for it, despite not completely loving it and acknowledging that it has flaws. It is Jonathan Glazer's least accessible and most divisive film ('Under the Skin' is also polarising but was criminally acclaimed, unlike 'Birth') and is not his best film (that's his most accessible film 'Sexy Beast'), but it's his most underrated to me. Not as good as 'Sexy Beast' but despite the much lower rating there is a marginal preference to it than 'Under the Skin', which was still a good film.
The film is not perfect by all means. Its weak point is the ending, although it is heart-breaking and delicate it also leaves too many questions unanswered, too ambiguous and feels abrupt. More could have been done with Anne Heche's role, which was a little underdeveloped, Anne Heche admittedly does a great job. The dialogue is minimal, a good choice, but when it appears it's a little corny.
Didn't actually think at all that the film meanders in pacing, it is deliberate but essential to the story's atmosphere and adds a good deal. Was too transfixed by how well the film was made and acted to find it dull. Nor did Cameron Bright come over as wooden or without personality, it's a subtle but chillingly effective.
If one has to pick three particularly great things, it's the production values, the music score and Nicole Kidman. 'Birth' is exceptionally well made, although with heavy reliance on close ups it's very elegantly shot and sumptuously produced and designed. The acclaimed close up of Kidman's face at the opera is especially striking.
Alexandre Desplat's music score is one that fits perfectly in the film and is perfection of a score on its own. It's haunting, ominous understated and truly beautiful, one also that one can listen to over and over.
Kidman's performance here is astonishing and among her best. There is a huge amount of haunting intensity and heart-wrenching nuance. It's not just her in the cast who makes an impression. Bright and Heche do great jobs, Danny Huston gives a performance of intensity and vulnerability and Lauren Bacall is electrifying.
Regarding highlight scenes, the highlights are the opera, beach and Heche's confrontation scene. The controversial bathtub scene may seem unintentionally creepy at first and has been criticised for being perverted, but when reading into the defence of that scene it's a scene not deserving of the controversy and nowhere near as erotic or exploitative as it appeared on screen.
Story-wise, it's unusual but haunting and moving, with the questions it raises being dealt with sophistication, intrigue and sensitivity. The characters intrigue too.
Overall, very good film, polarising but to me under-appreciated. 8/10 Bethany Cox
Seeing 'Birth', count me in as somebody who has high appreciation for it, despite not completely loving it and acknowledging that it has flaws. It is Jonathan Glazer's least accessible and most divisive film ('Under the Skin' is also polarising but was criminally acclaimed, unlike 'Birth') and is not his best film (that's his most accessible film 'Sexy Beast'), but it's his most underrated to me. Not as good as 'Sexy Beast' but despite the much lower rating there is a marginal preference to it than 'Under the Skin', which was still a good film.
The film is not perfect by all means. Its weak point is the ending, although it is heart-breaking and delicate it also leaves too many questions unanswered, too ambiguous and feels abrupt. More could have been done with Anne Heche's role, which was a little underdeveloped, Anne Heche admittedly does a great job. The dialogue is minimal, a good choice, but when it appears it's a little corny.
Didn't actually think at all that the film meanders in pacing, it is deliberate but essential to the story's atmosphere and adds a good deal. Was too transfixed by how well the film was made and acted to find it dull. Nor did Cameron Bright come over as wooden or without personality, it's a subtle but chillingly effective.
If one has to pick three particularly great things, it's the production values, the music score and Nicole Kidman. 'Birth' is exceptionally well made, although with heavy reliance on close ups it's very elegantly shot and sumptuously produced and designed. The acclaimed close up of Kidman's face at the opera is especially striking.
Alexandre Desplat's music score is one that fits perfectly in the film and is perfection of a score on its own. It's haunting, ominous understated and truly beautiful, one also that one can listen to over and over.
Kidman's performance here is astonishing and among her best. There is a huge amount of haunting intensity and heart-wrenching nuance. It's not just her in the cast who makes an impression. Bright and Heche do great jobs, Danny Huston gives a performance of intensity and vulnerability and Lauren Bacall is electrifying.
Regarding highlight scenes, the highlights are the opera, beach and Heche's confrontation scene. The controversial bathtub scene may seem unintentionally creepy at first and has been criticised for being perverted, but when reading into the defence of that scene it's a scene not deserving of the controversy and nowhere near as erotic or exploitative as it appeared on screen.
Story-wise, it's unusual but haunting and moving, with the questions it raises being dealt with sophistication, intrigue and sensitivity. The characters intrigue too.
Overall, very good film, polarising but to me under-appreciated. 8/10 Bethany Cox