When an antiqued film is labeled ‘a highly regarded cult British classic’ you have to approach it with a degree of skepticism no matter how highly praised it was at the time. Will the film simply perform as a historical time-warp of a bygone era? Will it stand up to critical scrutiny and play as strongly for contemporary audiences as it did upon its first initial release? Does it deliver that all important entertainment factor after decades of similarly poised films from the same genre? Luckily time has been particularly kind to director Franco Rosso’s raw emotional racial drama BABYLON, which after almost thirty years (it was released in 1980) still does its dues and overwhelms as an insightful, eye-opening portrayal of what its like ‘to be young, black and working class in South London in the early 1980s.’

The story is simple, focused and brilliantly unpretentious: reggae sound system frontman Blue (Brinsley Forde) and his Ital Lion band are looking forward to competing against rival band Jah Shaka in a reggae sound clash event. However Blue’s personal life unravels as the event approaches and he has to contend with the pain of losing his part-time job, suspecting his girlfriend of infidelity and warding off racial attacks from the local residents and suspecting police. It seems that society is all out to get him and this tests Blue’s alienation against the racial machine: will Blue crack under the stress of it all or grim and bare it and learn to accept society’s prejudices?

There’s some unsettling truths unveiled in BABYLON that still hold up in today’s unhinged environment. When the band’s rehearsals get interrupted by a nosy foul-mouthed busy-body neighbor your heart goes out to the victimized youth on the racist receiving end. Likewise when the central character is mobbed and brutally beaten by a crew of plain clothes policeman, for just being at the wrong place in the middle of the night the effect is sheer contempt for society’s blatant ignorance and irrationality. Its nice to see pre-fame British talents such as Mel Smith (playing Blue’s equally racist garage boss) and Karl Howman (who adopts a warm-hearted friendship with the gang) soaking up the screen and weaving out the character support in well written parts.

BABYLON is lensed beautifully by Oscar winner Chris Menges (responsible for both THE MISSION and THE KILLING FIELDS), who accomplishes a documentary style grainy quality to the aesthetics that is thoroughly appropriate to the movie, making good use of the London location to unearth some hard and startling truths. The performances (particularly Forde who carries the film) are expertly poised the right side of improvisation and the whole film is washed over with a contagious reggae soundtrack that is utterly stimulating and successfully picks the film up during moments of sluggish expedition. During these moments I recalled the thrilling audio tribulation experienced during Peter Henzell’s dramatic slice of Jamacian life in 1972 breakthrough hit THE HARDER THEY COME, which also featured a catchy title song which dominated the film whilst sonically cementing the social message.

BABYLON also features one of those attention grabbing sudden quick cut to credits endings that demands audiences to pause for thought momentarily during the close. It is indicative of the confidence of director Rosso that this ending works - a lazier director would have tied it up less tactfully, Rosso lets it run…

If you were (like I) too young to view it at the time then BABYLON is essential viewing for both an in-depth historical look at a bygone era and as a social comment on themes that are still to blame for racial injustice in today’s society.

EXTRAS
Although the preview disc I viewed only contained the feature film an audio commentary (with director Rosso and cast members Martin Stellman and Brinsley Forde) and interviews with the cast and crew are promised for the initial disc release, both of which should prove an enthralling compliment to the film.

VERDICT
Get you film priorities in check and view this potent racial drama, what BABYLON might lack in plot it makes up for in sheer dramatic gusto and gut-wrenching social commentary…and the music soundtrack ain’t half bad neither!

BABYLON IS RELEASED IN THE U.K ON OCTOBER 13TH COURTESY OF ICON HOME ENTERTAINMENT.