Babes (2024)

Babes-(2024)
Babes (2024)

Control is at the heart of most humor. Our belief that we have the ability to control our word, our relationships, or even more importantly, our body is comical. Typically, things are out of control and chaotic. Babes attempts to bridge that gap using its vividly colorful characters, who are charmingly flawed, and spectacularly performed with great love and charm. And also every possible bodily function and fluid.

Such powerful women, that I will get to very shortly, let me first express my gratitude and joy, that the men in no way come off as the villains or wack jobs. The male protagonists in each instance love, respect, comprehend, and in every way sympathize with the amazing women who adore them. Another man suffers from a mental illness but he does articulate his genuine feelings. There are women who are not in any way bonded talking about abs(as in absence) of men who will not be able to marry or inadequately describe parenting as assisting. I love how this film gets so much love that all its characters can be loved without denigrating any characters.

Dawn (Michelle Buteau) is a 34-year-old wife (her husband has the face of Hasan Minhaj as Marty), has a first-born son aged four, and in the course of the story, has a daughter who is in the process of being born. Her friend from the age of 11 is a yoga nidra teacher named Eden (Ilana Glazer who worked with Josh Rabinowitz to co-write the movie).

Both Buteau and Glazer feel Dawn and Eden moving as if they have known each other for the longest time, with no need to flesh out their deep-seated affection for each other. They do not merely provide emotional backup; they are the most active ones who encourage each other. It is a pleasant balance of familiarity, sexuality, and closeness that is never quenched by the desire to know pretty much everything about the minutiae of each other’s existence. When over Thanksgiving holiday, for the 27th consecutive year, the ladies go to the cinema, this time it is reportedly Eden peeping inside the woman’s vagina to find out if indeed it is time for them to go to the facility due to the amniotic fluid leaking. They are there for the delivery as well. That is how Marty and Dawn feel there is nothing else seen in the movies.

Eden then finds herself pregnant following a one-night stand with Claude (a swoon-worthy character played effortlessly, and delightfully, by Stephen James). He, however, has been erased from the picture and never to come back. Dawn makes one more vow, just as they have made countless times for one another, that she will always remain for Eden. However, some doubts still seem to be present in their face of Dawn when she relays to her friend that she will pull the weight of ‘single motherhood’, even when Eden does not wish to. It might not be obvious to her, but Eden may not feel the degree of coldness in Dawn’s voice when she says “Eden, don’t say you are a Black mother. You are going to have a Black child” Baseless oppression.

Dawn and Eden are no longer 11. Like any other individuals balancing the ‘full catastrophe’ that family involves, as Zorba the Greek puts it, adult friendships also become complex. Dawn has the challenge of having to juggle caring and paying attention to two little children, going back to work, and now there is a plumbing disaster at her own place. Eden is dealing with the hurdles of being a pregnant single woman with only Dawn as a support system. Each of them, however, feels disappointed toward the other one in this case. This is even more staggering because it makes them confront the idealistic notion that their relationship could not be anything but perfect.

Unfortunately, life is not clean and everything goes according to plan. Breasts do not always feed the baby with milk. Babies do pee into your face. Hormones get out of control making them the authority in the last trimester and it’s not them talking. It’s having another completely different person possessing your body, changing your center of gravity, so much so that you cannot recognize yourself. On top of all that, it gets you started on the sort of worrying that is all-consuming and that you will load in your mind for the rest of your life.

This film knows how to deal with failure but more importantly how to accept that, and the only appropriate response is laughter. As W.H. Auden said, “The funniest mortals and the kindest are those who are most aware of the baffle of being. Don’t kid themselves our care is consolable, but believe a laugh is less heartless than tears.”

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