October Baby
There’s a line in the recent film, “October Baby,” that states that, “Life isn’t always so black-and-white.” And yet, when it comes to this religiously-backed film about an abortion “survivor’s” search for identity, everything that is said (and implied) about the hot-button issue is very black-and-white indeed.
The film is inspired by a true story, as young Hannah (Rachel Hendrix), who is getting ready to perform in a theatrical production at the university she goes to, collapses with an epileptic seizure. At the doctor’s for a follow-up appointment, she learns, for the first time, that not only was she adopted by her protective parents, but that she was also a survivor of a failed abortion, which led to her being born prematurely. Emotionally shaken by this news, unable to trust the only family she’s known, she takes up an offer by her best friend (Jason, played by Jason Burkey) to go to Mobile, Alabama (where she was born), and search for answers that will give her peace of mind.
To this film’s credit, the film doesn’t hammer us over the head with its religious beliefs the way films such as “Fireproof,” “Courageous,” and “Facing the Giants” did, although it isn’t hard to see that the motive here is to present a “pro-life” message to the converted rather than just a quality filmmaking experience. In reality, the film isn’t poorly made, although the melodramatic tone isn’t aided by an overbearing musical score; a rudimentary understanding of cinematic techniques; and performances that are, many times, anything but natural. Co-writers and co-directors Andrew and Jon Erwin are novices in the realm of moviemaking (although their attempts at adding humor to the story are somewhat successful, even if they are forced at times), but as the film goes on, we see that good moviemaking isn’t really the goal here.
Because the film doesn’t pretend to be anything other than one-sided on the issue of abortion, it’s unfair to criticize it for doing so, and don’t worry, I’m not going to get into a political discussion on the subject. I will say, though, that this reviewer would have liked to have seen Hannah’s biological mother allowed some depth by adding a scene where she was able to explain her reasons for what she did, which would have presented some balance, as well as provided Hannah some answers, making her sense of peace by the end feel more palpable and less contrived. But then again, presenting both sides of the issue might lead to a thoughtful discussion, which most people would rather not have. The film does have one scene where Hannah has, through a great deal of coincidence, found the nurse who delivered her, leading to a profound dialogue where the nurse (played by Jasmine Guy) fills in some blanks for Hannah. It’s a beautiful and moving scene, but unfortunately, it’s an aberration that somehow found its way into a movie that has no room for such subtlety or painful honesty about life.
