6.9/10
3,259
35 user 22 critic

The Baby of Mâcon (1993)

Not Rated | | Drama, History | 17 September 1993 (UK)
A movie about the corruption in all levels of society. A baby is born from a supposed-to-be virgin woman, so a chain of hysteria about divine intervention in the birth takes place.

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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
The Daughter
...
The Bishop's Son
Philip Stone ...
The Bishop
Jonathan Lacey ...
Cosimo Medici
Don Henderson ...
The Father Confessor
Celia Gregory ...
The Mother Superior
Jeff Nuttall ...
The Major Domo
...
The First Midwife (as Jessica Stevenson)
Kathryn Hunter ...
The Second Midwife
Gabrielle Reidy ...
The Third Midwife
Frank Egerton ...
The Prompter
Phelim McDermott ...
The First Tutor
Tony Vogel ...
The Father
Tatiana Strauss ...
The First Nun
Louisa Milwood-Haigh ...
The Second Nun
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Storyline

A movie about the corruption in all levels of society. A baby is born from a supposed-to-be virgin woman, so a chain of hysteria about divine intervention in the birth takes place. Written by Carlos Morales <bmunoz@mail.sci.net.mx>

Plot Summary | Add Synopsis

Genres:

Drama | History

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

| | |

Language:

Release Date:

17 September 1993 (UK)  »

Also Known As:

A maconi gyermek  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Director Peter Greenaway has said that one of the sources of inspiration for the film was the banning of the Benetton advertising poster campaign in the UK that featured pictures of a newborn baby, covered in blood and still attached to its umbilical cord. An outcry caused the posters to be removed. "What is so horrible about a newborn baby?" Greenaway wanted to know. "Why is that image (one that is seen many times a day in hospitals all over the country) so unacceptable, when much more horrific images are presented on television and the cinema, featuring murder and rape, but glamorized and made safe?" Thus Greenaway set out to make a film featuring murder and rape in which "nothing was glamorized and nothing was safe". See more »

Connections

Referenced in Peter Greenaway in Indianapolis (1997) See more »

Soundtracks

Dance Two
Comnposed by John Blow
Performed by The Locke Consort
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User Reviews

 
Possibly the most shocking film ever!
15 August 2002 | by (New York City, New York) – See all my reviews

I first made Peter Greenaway my "acquaintance" through "Prospero's Books," an equally beautiful and equally compelling film. I have also seen some minor pictures of his, like "The Belly of an Architect" and "Drowning by Numbers" which cannot really live up to the image of "The Baby of Macon." Personally, I believe it is Greenaway's best. It is a play, a performance, where shape-shifting is as spontaneous as breathing, indicating that the world is, at it were, a theater, and we the people are merely actors. "The Baby of Macon" is the tale of the exploitation of a child for profit. A beautiful healthy son is born into a poor family, in a time of plague and bareness, in the old Gothic city of Macon. The child is seen as a mere toy, an opportunity for gain, both by his unnamed sister (so beautifully played by Julia Ormond) and the Church. The sacred Child, identified with Christ, brings riches and prosperity and fruitfulness unto the wretched crowds who live in Macon. But his sister's over-weening ambitiousness and the Church's avarice worsen the matters. The Child is immolated and all is lost. The masque is shown on stage in a doric playhouse in 1650 AD, before the viewers whose desire for pious histrionics is forceful. In due time you cannot possibly tell whether this play is acted or merely actual. You cannot tell whether or not you are in a playhouse or in a Cathedral, or whether this wondrous baby represents an earlier Miracle, born by Virgin Birth in a Nativity in the presence of ox and ass. At the play's apogee you cannot be sure who are the players and who are the viewers. This is Peter Greenaway's most shocking film, a somber "miracle-play" of wonders, semi-wonders, and would-be wonders conceived in an epoch of veritable godliness, but performed in a Baroque era of Religiousness when the fancy is starving for various feelings.


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