American auteur John Sayles’ latest film, Casa de los Babys uses the story of six American women attempting to adopt Mexican children as a basic framework to explore the larger context of a country gutted by poverty and foreign exploitation. In his characteristic style, the film is an ensemble piece; one that not only presents a cross-section of the Third World nation’s society but also its contemporary concerns. As a result, the film is truly impressive in its ambition, and even more impressive are the means through which the story is told.
By giving the audience an opportunity to relate to his incredible cast of American women (Lili Taylor, Daryl Hannah, Marcia Gay Harden, Maggie Gyllenhall, Mary Steenburgen) Sayles is then free to explore the strangeness of the country that his characters find themselves in and the poverty of a society that must sell its future (babies that were obtained through coercive practices) in order to survive. The film consists mostly of the basics of dramatic storytelling and all of the cast work extremely well playing everyday women in an alien world that they can’t understand.
While the film contains many memorable parts and some truly outstanding acting, one scene in particular stands out as unforgettable. As Eileen (played beautifully by Susan Lynch) tells the story of what a perfect day with her new daughter will be like, the young Mexican maid stops cleaning, sits down and simply listens. Though she doesn’t understand a word of English, something compels her to share the story of her own daughter, adopted by an American, and who remains in her thoughts to that day. When the characters stop and realize their failure to communicate, there remains something understood between them that exists beyond language. It is both a beautiful and heartbreaking moment, and reason alone to recommend the film.
Sayles is truly a remarkable filmmaker. Though he operates primarily outside of the Hollywood system, he still remains a potent force in the alternative American cinema scene, attracting outstanding casts with his excellent writing and the strength of his impressive career. While this is not his best film (Lone Star and Men With Guns still stand), it is still excellent by any standard for its great ensemble work, tight script, and hopeful message despite overwhelmingly depressing circumstances.
