Film review: October Baby

When one hears about a film like October Baby, which dealswith the aftermath of a failed abortion and the impact it has on thelives of those affected, certain conclusions about it will emergebefore even entering the theater.  People will expect it to preach apro-life message rather than tell a story.  The film will manipulatecharacters so that they are neatly divided between evil and good. Religion will get shoved down the viewers’ throats.  All of the looseends will get tied up in a neat bow. And all of those conclusions willbe … wrong.

October Baby tells the story of a young college student,Hannah (Rachel Hendrix), who has had numerous health issues inchildhood but emerged as a generally healthy young adult when supportedwith proper medical care — at least until she collapses during a schoolplay.  The subsequent medical tests, and the reading of her privatejournal by her parents, lead to a clash in which she discovers for thefirst time that she was adopted, and that she survived an abortion at24 weeks.  Shocked, angry, and lost, Hannah joins her childhoodconfidante Jason (Jason Burkey) on a quest to find her true identityand some real meaning to her life.

This could have gone the way of a Lifetime movie, or have earnestbut second-tier production treatment.  Neither happens thanks to experthandling by co-directors Andrew and Jon Erwin, both of whom have a fewyears under their belts making values-themed entertainment.  In fact,both leads appeared in their TV movie/pilot Alumni.  Theproduction values in the film are commensurate with theatrical-releasedrama, certainly on the same level as other romantic dramas for teens. The story itself provides surprises rather than opting for morefeel-good resolutions of some conflicts. Religion comes into the story,but much less than one would imagine.

October Baby isn’t about religion, or even abortion as muchas it is about forgiveness and letting go of pain and hurt.  It nevercrosses over into a strident anti-abortion didactic as one mightexpect, although the subtext arises once or twice, especially in aheart-rending scene with a surprising performance from Jasmine Guy. The film tells a story and lets the viewers reach their ownconclusions, but it doesn’t go out of its way to condemn anyone — andin one scene, even makes reference to violent protests at abortionclinics.  The film has a point of view, to be sure, but it treatseveryone fairly, with the possible exception of a minor romanticrivalry that is the film’s only real one-dimensional device and obviouscliché.

As for the performances, the cast impresses — especially Guy andJohn Schneider, who plays Hannah’s father and gives the performance ofhis life.  They are the most recognizable stars in the cast, and bothdeliver powerful and vulnerable performances.  I was amazed to discoverafter the film that October Baby is Hendrix’s firsttheatrical film and only her second credit; it won’t be her last. Hannah is the emotional center and core of the film, even when shecan’t find her own core, and Hendrix captures her beautifully. However, special mention should be made of Shari Rigby as Hannah’sbirth mother, who not only delivers a powerful performance, but alsogives an emotional interview during the end credits.  Do not miss it,and be sure to bring your handkerchiefs.

October Baby opens a week from today and is rated PG-13,for “mature thematic material,” which is certainly true.  There isn’tanything in the film to which parents would object, like bad languageor nudity, but it’s heavy material for kids and pre-teens.

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