Man Baby

Written and Directed by Philip Hardy, nothing can quite prepare you for the ridiculous (positively) and deranged (complimentary) ride that is ‘Man Baby’. The film follows David whose penis falls off upon learning that his partner is pregnant. But even that is just the tip (pun fully intended) of the iceberg as he embarks on a journey, as prescribed by his doctor, to “grow up” in order to get it reattached.

This feature gets off to a racing start, immediately showing us the inciting incident within the first minute, making the central mission statement crystal clear – David needs to mature. This gets the piece off to a high paced and riotous start that is deeply entertaining. However with the goal having been established so early on, the rest of the film sometimes struggles to justify its 1 hour 20 minute runtime. There are a couple of specific sequences that audiences may feel a slight drag in, including a scene in which David and Graham repeatedly say goodnight to each other, and another where David looks at the camera and begins to list off cheeses. These aren’t bad scenes by any means, not in concept, but they seem to halt the pacing of the film and could have used some tightening.

This piece wouldn’t be half as funny as it is however, if it wasn’t for Divian Ladwa’s hilarious work in the lead role. With a performance that plays the surreal and ludicrous drama straight, Ladwa provides so many humorous moments throughout the film – so much so that it makes you forget that for the most part he is acting alone opposite a talking penis. He is also supported by the talented Kerry Fitzgerald who plays multiple contrasting characters throughout the film in a testament to her range as a performer.

The sheer creativity on display is by far one of the strongest elements. This unique creative style is first apparent through hand-drawn text and animated sequences which break up the drama and add very nicely to the eccentric tone of the film. The artistic choices and select camera movements also heighten the comedy, with a particularly nice choice not to show us Martha’s face until David has made an effort to mature – showing us that, due to his character growth, he is now able to see her properly. There are also parts of this comedy that are shot and feel as if they belong in a horror, particularly the scenes with the Man-Baby that lend a very uneasy feeling. All this, and the distinct soundtrack by Christopher Schlechte-Bond which uses throat singing and acapella elements, results in a funny yet surreal atmosphere.

Despite its predictability and minor pacing issues, it will be hard for viewers not to have a good time with this film – which will perhaps be best experienced having a good laugh with a group of mates. Audiences will find ‘Man Baby’, not unlike the phallus at the core of this story, growing on them.