As a cinephile with a keen eye for the behind-the-scenes drama that often shapes films, I can’t help but feel a sense of empathy for Mathieu Kassovitz when I reflect on his tumultuous journey with “Babylon A.D.” It’s a tale as intricate and layered as the dystopian world portrayed in the movie itself, a world that, much like the film, held immense potential but fell short of its true greatness.
2008’s movie “Babylon A.D.” had all the makings of a blockbuster hit. With an impressive ensemble cast including Vin Diesel, Michelle Yeoh, Mark Strong, Charlotte Rampling, and Gérard Depardieu, a critically acclaimed source material, and a filmmaker who won an award at Cannes, this film seemed destined to become the next big sci-fi action sensation. Unfortunately, due to creative differences between director Mathieu Kassovitz and the studio, 20th Century Fox, the movie didn’t quite live up to expectations. As a result, audiences were left feeling let down and bewildered by the final product.
As a die-hard fan, I’d rephrase it like this: In the gritty role of Toorop, action star Diesel finds himself stranded in a dystopian Asia. Hired to transport a young woman, Aurora (Mélanie Thierry), and her guardian, Sister Rebeka (Yeoh), to America, he’s promised a clear passport for a homecoming and a substantial payment. Unfortunately, the movie “Babylon A.D.” has earned its poor reputation due to a plot that falters as it unfolds and a director who openly disassociates from a production plagued with issues since its inception.
The Disastrous Production of Babylon A.D.
French filmmaker Matthias Kassovitz gained international fame for directing the groundbreaking ’90s film, “La Haine“, which follows a day in the life of three young men in a Parisian slum. He also garnered attention as the romantic lead in the offbeat romance “Amélie” from 2001. With much anticipation, Kassovitz chose to bring the novel “Babylon A.D.“, originally penned by Maurice G. Dantec, to the big screen. The book delves into profound spiritual and intellectual ideas, and Kassovitz was eager to translate these themes onto film. In an interview with AMCTV in 2008, he expressed his fervor for the project, stating:
The author was very much into geopolitics and how the world is going to evolve. He saw that as wars evolve, it won’t be just about territories any more, but money-driven politics. As a director it’s something that’s very attractive to do.
As a passionate cinephile, I embarked on a five-year journey of script development and funding pursuit for this project dear to my heart. Eventually, StudioCanal, along with my own production company and Vin Diesel’s, came on board to make it happen. 20th Century Fox later joined the team, but as a studio known for its active role in filmmaking, they closely monitored every aspect of production. As an auteur at heart, I found myself navigating the strict oversight of their lawyers. In the end, I shared my experiences with AMCTV, expressing the challenges we faced working together.
In another phrasing: “I was unable to execute one scene as intended or according to the script, due to lack of respect for it. The producers and partners were problematic, making the entire experience unpleasant […] I should have opted for a studio with more courage. Fox seemed to be aiming for a PG-13 movie, but they couldn’t care less about my vision […]. However, I’m prepared to fight for my ideas, but unfortunately, they don’t seem to care enough […]. I had something far superior in my grasp, yet I was not given the freedom to develop it.
F*cking Kassovitz
In essence, the filmmaking process of “Babylon A.D.” deviated from its planned direction and leaned more towards raw violence and simplicity, as stated by Kassovitz. The Guardian reports the director’s additional comments: “The action sequences were intended to be guided by a deeper metaphysical perspective or character-driven experience […] unfortunately, certain parts of the movie feel like an inferior episode of 24.
The situation didn’t improve when news broke about Kassovitz postponing production for three weeks due to personal matters, followed by whispers of friction between Diesel and Kassovitz. When the project was finally finished, it stirred up more trouble as editors removed 15 minutes (there were allegations that even more were cut). This led to speculation that the film had been toned down. To make matters worse, Kassovitz publicly distanced himself from the project and actively criticized it during its release, as evidenced by the quotes above.
Indeed, there exists a full-length, hour-long film titled “F*cking Kassovitz” that delves into the production issues and escalating frustration and rage of the director, Kassovitz. This is said to have culminated in some sort of emotional breakdown, as reported by certain sources.
Babylon A.D. Bombed with Audiences & Critics Alike
In the aftermath of its release, Babylon A.D. was frequently compared unfavorably to Children of Men, both being set in a bleak future and featuring a disenchanted warrior safeguarding a young woman who seems to have undergone an immaculate conception. However, Babylon A.D. distinguishes itself by having the protagonist, Toorop, transport Aurora, the young girl, to a Russian mobster seeking to use her for creating a genetically engineered Messiah. The narrative follows the perilous globe-trotting adventure of this trio, consisting of Toorop, Aurora, and Sister Rebeka.
Hidden within its depths lies a fantastic sci-fi film yearning to emerge. It boasts an intricate storyline filled with elaborate world-building, a bleak dystopian backdrop, and Diesel’s expertise in delivering gripping action sequences. However, the final product left certain aspects unexplored: the causes behind the world’s descent into a perilous apocalypse, Aurora’s unique characteristics – was it her psychic abilities or technological advancements while still in the womb that made her special? Furthermore, random scenes seemingly unrelated to the plot, such as an unnecessary car chase towards the end of the movie, suggest internal conflict within the film.
The movie Babylon A.D. leaves many plot threads unresolved, starting off strongly but ending in a chaotic and disconnected manner. Unfortunately, the profound messages from the original novel fail to fully resonate. Director Matthijs van Heijningen attributes this to editing issues, expressing disappointment that the narrative’s core is lost. A worrying aspect is that the film was not shown to critics prior to its theater release, which often signals potential problems. Two endings were created: in the theatrical version, Aurora gives birth to twins and remains with Toorop, while in the extended cut, Aurora dies after childbirth, leaving Toorop to raise the children – a conclusion more consistent with Maurice G. Dantec’s book.
Is Babylon A.D. Worth Watching?
Fans who are fond of action claim that there are still thrilling scenes in the movie “Babylon A.D.”, such as when Toorop travels over Russia, suspended from a helicopter’s magnet while in a car, or when he’s on a snowmobile being chased. Regardless, both versions of the film can be considered disorganized and may leave many viewers underwhelmed. Yet, this didn’t deter Diesel, who has continued to grow in popularity and success, largely due to his work in the “Fast and Furious” series.
After stepping down from directing, Mathieu Kassovitz focused more on film acting. He directed a French movie in 2011 that didn’t fare well at the box office, and hasn’t directed another one since then. It’s also worth noting that he never collaborated with 20th Century Fox again. You can find the sci-fi action film “Babylon A.D.” available for rental or purchase on digital platforms such as YouTube, Apple TV, Google Play, and Prime Video.
Read More
Sorry. No data so far.
2024-11-17 17:33