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Full Product DetailsSide #1 --
1. Main Titles [4:24]
2. Ten Years Later [6:11]
3. Sean [6:16]
4. "He Said I Shouldn't Marry You" [3:35]
5. "Could It Be True?" [2:56]
6. "You're Hurting Me" [5:49]
7. "Your Stupid Son" [3:54]
8. The Park [3:03]
9. Testing Sean [4:41]
10. "No More Lying" [3:51]
11. Clara and Clifford [6:31]
12. Providing for Ana [5:24]
13. "I'm Looking at My Wife" [5:20]
14. "That's Not Sean" [5:25]
15. "Tell Sean to Go Home" [4:00]
16. "Everything Is All Right" [2:16]
17. "I'm Your Lover" [4:50]
18. "I Believe Him" [7:33]
19. Peace [2:49]
20. May [4:55]
21. End Credits [6:11]
Easily among 2004’s most provocative films, this emotionally charged melodrama initially sparked controversy for a daring scene in which leading lady Nicole Kidman climbed into a bathtub with an ostensibly naked ten-year-old boy. It’s a shame that the sequence attained so much notoriety, because aside from the fact that it’s tastefully done and entirely non-exploitive, it precisely speaks to the conundrum faced by Kidman’s character. She plays Anna, a widow of ten years finally about to move on with her life by marrying Joseph (Danny Huston), a devoted if rather stolid man of means. While a birthday party is underway at the Manhattan apartment of Anna’s mother (Lauren Bacall), a young boy named Sean shows up uninvited and claims to be the reincarnation of the widow’s long-dead husband. This is patently absurd, but when the lad reveals knowledge that only her former spouse could know, Anna gradually begins to believe. Director Jonathan Glazer (Sexy Beast) puts over this wildly improbable yarn by downplaying its most sensational elements. The widow’s family and friends don’t throw up their hands and gasp in amazement at first sight of the boy; they react as one might expect sophisticated urbanites to react, displaying a mixture of skepticism, tolerance, and, finally, impatience. Kidman conveys her character’s inner turmoil with remarkable expressiveness, especially in a wordless three-minute close-up during which the viewer can practically read the thoughts whirling through her head. She gives a remarkable performance, as does young {|Cameron Bright|} as Sean. Some might find the subject matter unsettling, and no doubt that’s just the reaction for which Glazer and the screenwriters hoped -- and if not for the first-rate staging and acting, the film easily would sink under the weight of its improbability. Their achievement, therefore, is quite impressive. Birth may or may not be a great film, but it’s certainly an unforgettable one. Ed Hulse, Barnes & Noble
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