IFC Films | Release Date: September 19, 2003
6.8
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ChadS.Sep 16, 2004
To strengthen the case that Americans are practicing cultural imprealism by the adoption of overseas babies, writer/director John Sayles should've pursued the potential story of a roofer who has eight children, as a counterpoint to the To strengthen the case that Americans are practicing cultural imprealism by the adoption of overseas babies, writer/director John Sayles should've pursued the potential story of a roofer who has eight children, as a counterpoint to the illiterate, glue-sniffing orphans that dot the Guatemalan streets. His story is important to help mount the argument that these local children don't need to be saved by prospective mothers from the United States. "Casa de Los Babys" fascinates when we see these women behave badly without being aware of it. There's the woman who puts a native on the defensive by assuming he has no geographical knowledge of our country; and the woman, who happens to be the kindest of the bunch, cruelly gives a homeless kid some book (about a goat!) he can't read, instead of something useful like food or money. It's too late for the boy, so, in essence, Eileen (Susan Lynch) unknowingly taunts him. Jennifer is even more clueless. She's worried about offending her tour-guide by paying him more than the stated charge of four dollars, but fails to take stock that the greater offense is her condescending attitude towards him. Jennifer assumes he's uneducated, so she explains that D.C. is a district. If one of the mothers was African-American or Hispanic, "Casa de los Babys" would've seemed more like a screed against Americans, but since they're all white (Eileen is from Ireland), the conflict is more racial, than cultural or social. "Casa de los Babys" annoys, but it made me think. Expand
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