This kind of tale often grabs attention and then fades away: A young woman secretly gives birth in a bathroom stall and throws away the newborn, having concealed her pregnancy from herself. The film “Baby Doe” transforms such a story into a heartfelt movie that feels like a real-life crime investigation, with the focus not on who committed the act, but rather on understanding the reasons behind it.
1993 saw Gail Ritchie residing in a traditional, socially conservative region of Ohio at the age of 22. That year, she delivered a child who she claimed was stillborn, burying it in the woods. However, its body was soon discovered and it wasn’t until 2019 that DNA testing confirmed Ritchie as the mother. This led to her being charged with murder. Two years after this revelation, film director Jessica Earnshaw encountered Ritchie and crafted a suspenseful movie featuring many shocking scenes, some of which were drawn from Ritchie’s own accounts, as well as police footage and media reports.
As a gamer, I’d say my debut work was the critically acclaimed “Jacinta” (2020), a compelling narrative that delves deep into a woman’s struggle with addiction, imprisonment, and her journey towards rebuilding her life. The same empathetic, personal touch is evident in my latest production, “Baby Doe.” It’s the raw, heartfelt confessions of Ritchie that make this film resonate. However, this intimacy also serves as a double-edged sword, as it only scratches the surface of the complex issue of denying pregnancy. Yet, despite this constraint, “Baby Doe” remains captivating as it advocates for empathy and understanding instead of harsh judgment towards an act that seems unfathomable.
Earnshaw’s approach in Baby Doe isn’t confrontational, but rather an attempt to persuade, as the film clearly serves an advocacy purpose. A key element of this strategy is allowing Ritchie and those who pass judgment on her to speak for themselves, which proves largely successful. The most unexpected aspect of the movie is Ritchie herself – she’s now married to the father of the child she buried, and together they have three grown children. She appears as a gentle, devout middle-aged woman, initially shown tenderly holding her grandchild while playing a board game with her family.
The most striking scene, occurring near the beginning of the movie, presents a police video capturing Ritchie’s arrest while she stands in her driveway. When the officers enquire whether she comprehends their presence, she responds coolly, “there was a baby left,” using passive voice to create an unsettling sense of detachment, but also appearing innocent and truthful.
The footage from the interrogation room is particularly disconcerting. Following her admission to burying the child, the law enforcement officers inquire, “Have there been any other instances like this?” To which she replies, “Yes, one other time,” two years prior. Earnshaw’s understated writing technique allows for a moment of reflection before presenting the facts: the body of the first child was never discovered, Ritchie claimed to have no recollection of any sounds or movements from either baby, and because only one body was found, she was indicted for a solitary murder.
The movie chronicles Ritche’s journey from that point up until her trial, using smooth editing techniques to craft a compelling storyline that invites viewers to empathize with Ritchie’s perspective. In their comfortable suburban home, Ritche’s husband Mark and two of their children are interviewed, sharing insights about Ritche’s kind-hearted character and her ordinary daily life. Mark admits he had no knowledge of the births of the first deceased children, but continues to stand by her side.
The parts of the conversation that provide the strongest evidence are those between Ritchie and her lawyers. However, since we only see what these lawyers decide to disclose, there’s always a sense of suspicion. Yet, the questions posed by the lawyers are insightful, and her answers suggest she was in denial about her pregnancy, even seeming somewhat detached from it as she proceeds with the trial. In other words, while she acknowledges her pregnancy, she appears to be emotionally disconnected from it.
Occasionally, her attorneys find it hard to comprehend her unusually composed reactions to their inquiries. Despite testing positive for pregnancy, she claims, “I can’t recall thinking I was pregnant.” It’s heart-wrenching to listen to her. One of her lawyers admits, “I’m struggling to make sense of this. It sounds so unbelievable,” a sentiment that viewers of the film are likely to share at first.
As a gamer delving into Earnshaw’s intriguing narrative, I found my journey was all about breaking free from the maze of confusion. In a pivotal moment, a forensic psychologist shared insights with Ritchie’s legal representative regarding studies on women who stubbornly deny their pregnancies. The psychologist shed light on the mystery by explaining that these women, plagued by deep-seated distress, behave impulsively during childbirth. Since the root psychological issue remains unresolved, they may find themselves repeating this pattern of behavior.
Ritchie matches that profile. She was part of a church youth group, deeply religious and held the view that pre-marital sex was immoral, choosing to distance herself from the factual aspects of her pregnancies. The psychologist’s insights would have made “Baby Doe” an even more impactful film with a wider message if there had been additional such insights. Unfortunately, the movie offers scant details about Ritchie’s firstborn child, a missing piece in the narrative.
In the courtroom now, Ritchie is given a life sentence by the judge, who finds her actions abominable despite her admirable post-crime lifestyle. “I can’t make sense of the two Gail Ritches,” he laments, perhaps meaning to say “unite” or “understand,” but his choice of words fits well with the film’s theme. The unfathomable act committed by Ritchie is a product of a profound psychological issue that this insightful, moving documentary brings to light.
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2025-03-08 03:24