It’s an ode to the temple of glamor full of sweat, sex, drugs and excrement. An iconoclastic and exhausting dive into the nascent capital of the seventh art at a time when it has become an industry from a fair show. A tragic farce on the excessiveness of Hollywood, the dream industry and the hell of decor in the 1920s and 1930s. In short, “Babylon”, by Damien Chazelle, fresco of 3h08 with a budget of more than 80 million dollars , is a fascinating anomaly that did not fail to divide the American press.
Amazing from the director of “La La Land”, wonder boy Oscar winner at 32 (a record)? Not really. Remember his “Whiplash”, perverse jousting between a young jazz drummer and his sadistic teacher. Or of “First Man: the first man on the Moon” on the mourning of his daughter and the morbid obsession of the astronaut Neil Armstrong who already shed light on the hidden face of a historical event, founder of the American myth.
Behind his taste for the spectacle and his musical staging, Chazelle, son of a medievalist and a computer engineer of French origin, cultivates a didactic, even anthropological approach to his subjects and a vintage cinephilia that clashes. In “Babylon”, he orchestrates a crossover between a starlet with long teeth and a light thigh, inspired by Clara Bow (Margot Robbie), a superstar on the decline, half-John Gilbert, half-Douglas Fairbanks (Brad Pitt ), a Mexican immigrant, factotum of the studios (Diego C
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