Birth - a review
BIRTH
Directed by Jonathan Glazer 2004)
"As the moon dies and comes to life again, so we also, having to die, will rise again." - San Juan Capistrano Indians
Ian Stevenson, Director of the Division of Personality Studies at the University of Virginia, has devoted the last 40 years to the scientific documentation of past life memories of children from all over the world and has over 3000 cases in his files. In his book "Twenty Cases Suggestive of Reincarnation", Dr. Stevenson asserts that children usually begin to talk about past-life memories between the ages of two and four but that these recollections gradually dwindle when the child is between four and seven years old. Such is not the case, however, in Birth, a new film about reincarnation by Jonathan Glazer (Sexy Beast). In the film, ten-year old Sean (Cameron Bright) suddenly appears in the house of a wealthy widow, Anna (Nicole Kidman) and announces that he is the reincarnation of her husband, also named Sean, who died ten years ago.
As the film opens, a man jogs in the snow in Central Park in New York City accompanied by the haunting score of Alexandre Desplat. After reaching an underpass, he hesitates, then collapses and dies. The film then cuts to the image of a baby being born and shifts the timeline to ten years later. Anna and her fiancé, Joseph (Danny Houston), are holding a party in the elegant East Side apartment she shares with her mother Eleanor (Lauren Bacall), her sister Laura (Alison Elliot) and her husband Bob (Arliss Howard). After Anna's friends Clifford (Peter Stormare) and his wife Clara (Anne Heche) appear, Clara excuses herself to go into the park to bury the gift she had brought from Anna (a plot point that will have repercussions later). When she returns, a dour looking ten-year old boy follows her into the party. The boy calls Anna into an adjacent room and announces without emotion that he is the reincarnation of her deceased husband and tells her not to marry Joseph.
Anna at first dismisses young Sean as a prankster but has second thoughts when her brother-in-law tapes an interview with Sean and learns some intimate details that only Anna's husband could have known. No scientific investigation is undertaken however to analyze any birthmarks, deformities, phobias, abilities, or addictions that might establish a link between the two. Anna and Joseph simply talk with the boy's parents but they deny that he has ever mentioned these thoughts before and there is no further investigation. Though reluctant, Sean's parents agree to have Sean stay at Anna's for a few days. When Sean summons Anna to meet him in Central Park in a spot that only she knows, they rendezvous at the underpass where her husband died and she begins to fall in love with the boy. This leads to some awkward moments as when the two share a bath together but the scene is innocent and there is no hint of exploitation.
Slow-paced, brooding, and atmospheric, Birth maintains a high degree of suspense throughout. While the film works as a compelling psychological thriller and metaphysical mystery, it labors under several misconceptions. One is that people reincarnate immediately, the other is that details of past lives are easily accessible to conscious memory. Despite its flaws in logic, writers Jean-Claude Carriére and Milo Addica keep the dialogue on a realistic level and the film is held together by Kidman's highly nuanced performance. One of the best sequences is a two-minute close up of Anna at a concert, her face moving through a range of emotions that make us wonder what thoughts are going through her head. While the ending lets us down with a contrived set of occurrences that put the film on safe neutral ground, Birth courageously reminds us once again of the essential mystery of life and death. On a more down to earth level, it also makes us aware of the pitfalls inherent in holding onto attachments that prevent us from living fully in the present moment.
GRADE: B+
"They must find it hard, those who have taken authority as truth, rather than truth as authority" Gerald Massey
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