In Babylon (2022), Damien Chazelle chases excellence. His films depict protagonists who are willing to face physical and emotional torture to succeed.

"Babylon" is a reply to "La La Land's" criticisms.

It's a beautiful 1920s piece about how silver screen brilliance is often the result of hard work, broken hopes, and serendipity. "Babylon" shows how much work goes into two seconds of film, whether it's dozens of extras waiting for a camera or recording sound perfectly. These two scenarios remind us that nothing is easy, even if it looks pleasant.

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Why bother? That's tricky. Chazelle says this version of the moon landing is worth it, but he drags his characters and us through so much misanthropy to get there. "Babylon" has magnificent scenes, performances, and tech components, but Chazelle lacks the magic touch to put them all together.

There's much to be said for an unashamed picture, but I felt as deceived and misguided as the outsiders in this film who get gobbled up by Hollywood. It's the difference between drawing aside a curtain and rubbing your face in elephant poop.

Manny Torres (Diego Calva), a Mexican American in Los Angeles at the conclusion of silent film, is introduced in "Babylon." He's trying to get an elephant to a drug- and sex-fueled Hollywood party.

Chazelle uses the orgiastic bacchanal to introduce his players, including an aspiring actress named Nellie LaRoy (Margot Robbie). We also meet Jack Conrad (Brad Pitt), a silent cinema star preparing to leave his third wife as talkies arrive and a new era of stars begins.

Jovan Adepo plays jazz trumpeter Sidney, and Lady Fay Zhu sings cabaret (Li Jun Li). Jean Smart plays gossip writer Elinor St. John while Lukas Haas, Olivia Wilde, Spike Jonze, Jeff Garlin, and Flea appear.

It's an amazing ensemble, anchored by Robbie and Calva, but Pitt is the standout, portraying a sense of lost glory that seems personal. Pitt has been a star for nearly 30 years, and he imbues his portrayal with a feeling of genuine sorrow that gives the film depth it could have used more of.

Chazelle's vast tapestry method concentrates on the outsiders' climbing arcs—Manny, Sidney, and Nellie don't realize they're part of a system that values them as little as it does its equipment (maybe less). Jack Conrad will learn that legends are disposable. Nellie holds the screen in a way that few actresses besides Robbie could portray;

Sidney's musical talent rises as sound replaces silents; Manny's intelligence gives him more decisions. This film is more about movies and Hollywood history than romance. It's full of history and urban legends. Chazelle was prepared.

Again, the director's dedication elevates his staff. Linus Sandgren's flowing cinematography gives the film energy; his shots are never showy. Justin Hurwitz's score may be the best of the year, with recurrent motifs for its characters that give it an operatic feel. This complements the story's somber tone and tragic ends.

Production design feels both authentic and larger-than-life. The intercutting of the stories sometimes feels out of control. But that's more Chazelle's meandering script than anything in the editing room.

Script. "Babylon" tests whether a film can be its beautiful parts. Unbeatable score, cast, and cinematography.

"Babylon" has narrative aspects that feel empty from the start and get worse when Chazelle inserts manipulative teachings. "Babylon" might be violently harsh and dismissive, yet I found its concluding scenes hypocritical. Fans of the film seem to love the ending, but it's Chazelle's worst work.

Chazelle seems to be saying that we wouldn't have "Singin' in the Rain" if no one died during the shift from silent to talkies. That's a cynical and shallow view of filmmaking. If he believes he's exposing a broken industry, he's actually part of it. He doesn't seem to care that his furious party will kill his art's dreamers.

Babylon is out in theatres now.