Nicole Kidman bolsters her reputation as the most gifted top-of-the-marquee actress in the business with a powerhouse performance in Jonathan Glazer’s arresting metaphysical love story, “Birth.” Glazer, who made a tremendous feature debut with “Sexy Beast,” follows through on that promise with a Kubrick-esque offering that combines mystery, romance and very intriguing, somewhat disquieting ideas about the transcendental nature of love.
“Birth” opens with a mesmerizing tracking shot of a man jogging through snowy Central Park accompanied only by composer Alexandre Desplat’s haunting score. As he reaches a tunnel beneath a stone bridge, the man collapses and Glazer flashcuts to an infant being born, thus establishing the film’s reincarnation motif. Fast forward 10 years to the jogger’s widow Anna (Kidman), who is set to remarry — this time to the genteel Joseph (Danny Huston). At an engagement party at the posh Park Avenue digs she shares with her mother (Lauren Bacall), a 10-year-old boy named Sean (a very impressive Cameron Bright) shows up unannounced and informs Anna that he is the second coming of her dead hubby. She’s more than willing to believe the lad — perhaps, implausibly so — and next thing we know, they’re taking a bath together. Fret not, however, for “Birth” isn’t a child molestation movie. Despite the controversy it’s generated, the tub scene is presented delicately enough to not offend. Anna’s world, on the other hand, is thrown into a state of utter chaos.
The ever-graceful Kidman evinces her anguish, confusion and longing so effectively that even a mildly disappointing third act twist cannot mitigate the intensity of “Birth,” which ranks among the year’s best. (Rated R for sexuality. Running time: 100 minutes)
Originally published in the Santa Monica Daily Press print edition on October 29, 2004. Read the original PDF.