Synopsis: Babylon follows the story of David, a working class musician and black man in South East London. By day he works as a mechanic, at night David is a Mic controller at a local dance hall. The film centers around the racial divide of London in the 80's, the lack of opportunities available to black people and poverty. David loses his job, gets beaten up and charged by the police, forcing him to go on the run. Then breaking up with his girlfriend, all of his frustrations culminate in the stabbing of a racist neighbour.
95 min

Hey, Beefy, come on, move some

box. Quick, quick, quick. Cho!

- Come on.

- Come on!

Easy there.

Hey, Errol! What, you not

finished moving them boxes yet?

- I'm done.

- Let's go.

Beat the banker.

I've got 5 here for ganja.


I don't want to see you here any more.

Just go outside there and

just move the speaker boxes.


5 for the heart and 10 for the anchor.

I gotta raise now.

1, 1 for the diamond. Banker's mine.


Lion! Lion! Lion! Lion!

The soundroom play

the mighty Shaka here next week.

The winner goes to the final, brothers

and sisters, a sound called Ital Lion.

All right, now, Ital Lion

will go to the finals, see.

What you up to?

- Moca!

- Is that it for a tenner, then?

- What?

- That.


Thing is moca, man, you know?

- Yeah?

- Yeah.

- F***ing needs to be for tenner, don't it?

- True.

Hey, Beefy. There's still

two boxes over there, as well.

Hey, Lover. What are you doing,

man? Don't make me look, man. Cho.


- Hey. You forgotten?

- Forgotten what?

The money.

How much do you want?

Just 2. You remember.

Tell you what, seeing as I've

got some other things to do,

I'll take that one. Yeah?

Listen, I'll see you tomorrow evening.

- Yeah?

- All right.

- Hold up your end, man.

- Just shut up, man.

- Keep on the left side.

- Just shut up, man.


What you do that for, man?

What you mean, me? It was you, you fool.

You mashed up the box. You slack, Beefy.

Slack? It was you, rass claat, man.

No, man, you went the wrong ways.

No, man, you said left, right?

So it's left I f***ing turned.

Your left is my right,

Beefy. You no see?

Cho, you too technical, man.

- David, are you up?

- Yeah.

- Aren't you up yet?

- What's the time?

Get your clothes on, it's 8:30.

I'm going to need your help with

that brother ofyours, you know.

Oh, Mum, if it's that, count me out.

Listen, you know you're the

only one can talk to him.

- He run away from me again yesterday.

- See? What I tell you?

Listen, I want you to

take him to school, okay?

Now hurry up.

If he don't want to go,

force can't hold him.


Come here!

- Get off!

What you doing?

- What do you think you're doing?

He's trying to beat me up.

- Getting him to school.

- Leave him alone, you great bully!

He's half your bloody size. You

should be bleeding ashamed of yourself!

Go on, just clear out of

it! Do you hear, clear off!

Come on, you come down the

road with me. Clear off, I said!

Come on, you come down the road with me.

You don't worry about him, bleeding git.

Come on.

- Dave.

- Okay, mate.

Oi, Dave!

- Yeah?

- What sort of time do you call this, then?

- It's after 9:
00, innit?

You're supposed to be here

at quarter to, aren't you?

- I know.

- So where were you, Dave?

- Family trouble.

- Family trouble.

Listen, I've got all f***ing night

to sort out my family trouble.

You have to do yours in the morning?

Why don't you say you're out

on the piss like everyone else?

Believe what you want.

I suppose your mate Ronnie, he's

got family trouble and all, has he?

Ron, what you doing? Alan don't

know you're here, you know.

I don't even know I'm here. You know

that stuff Bill give me last night?

- Yeah?

- It done me right up.

I keep telling you, you can't take it.

No, man, it's got nothing to do

with that. I just thought to myself,

"I will go home, have a nice time,

build meself a lovely little spliff... "

- A big spliff. - Or a big spliff.

So I built this big spliff,

thought I'd have a nice draw on

it, lock meself in the bedroom,

put the headphones on, thought

I'd get in some real hard rhythm.

Next minute I know, I'm spark out on

the floor, blinking up at me old woman,

and she's shouting at

me, "Ronnie, Ronnie!"

You going to light that thing?

- Yeah, I ain't got no matches.

- Hold up.

Ta. Yeah, so what was I saying?

- Something about your old dear.

- Yeah, so, yeah, she screams, you see,

and sends my old man up the stairs.

So he comes steaming up the stairs,

trundles into the room, he sees

me on the floor then he starts.

"Cor, f*** me, doll, he's had a heart

attack. Quick, ring for an ambulance. "

- Do you know what I did then?

- No, what?

I puked over my mum's

slippers. Bad, innit?

I did, and you should

have seen the state.

- What, your puke?

- No, her slippers.

Come off it, Ronnie,

you're having me on.

No, man, I tell you, that stuff's

a real killer. Promise you.

Pass the torch over for

us. Carry that, will you?

Given me a rightjob.

- Here, listen, I'm going home, right?

- You've only just got here.

I know, it's force of habit. I don't

know what I'm doing here anyway.

- I'll check you later.

- Yeah, well, give me me lighter first.

Get away with it one day, eh?


- Beefy, where you go?

- I come with you, innit?

Brakes, man, deal with it.

F***ing hell.

- Fat Larry there?

- He upstairs.

All right.


No, man, what

I want with a pressing?

Cho, blood claat, the one I Telex you!

Yes, right, man, right.

Tubby in Kingston, he'll

block up for sure, you know.

Yeah. Yeah, Jamaica 101.

Yes, all right. Love.

Cho, look at Fat Larry now.

Man must have hit upon rich

times to call up Kingston so.

Well, is up and down, you know.

So what happened? Long

time I don't see you.

- I'm here and there, you know.

- A tune you come for?

Just pass and check in,

see what going on, you know.

Frankie, play the tune

for the sound man, yeah.

What you deal with, Fat Larry?

Man, hear them tune a good

two year now. That '70s tune.

- What you deal with?

- What you talk about?

This tune exclusive, man. Import

man, straight from J to me.

Fat Larry, somebody

must have skanked you

because, I tell you, I hear

them tune a good two year now.

What you talk about? Is only

"pre" I deal with, you know.

- Pre-release, man. - So

what? When that release?


Hey, Frankie...

Oh, blood claat!

- Beefy!

- Beefy, you little blood claat.

- F***ing idiots.

- Beefy!


This tune you check for this

final, well, it can't help you now.

Shaka gonna beat you, Beefy. Shaka rule.

- Yeah?

- Shaka rule.

- Sunday, we'll see who rule! F*** off!

- What you say, Beefy?

Beefy, you're just big and soft.

Big and soft!

Anyway, take care, Beefy.

- Shaka rule!

- Just f*** off, right!


Bunch ofwanker.

Well now, sir, is a serious business

you dealing with now, you see.

This tune exclusive

to me, you understand?


And this ganja here, exclusive to I.

Import, you know. Straight from Jamaica.

Cho, what happen, sound man?

This not back yard, you know.

Is a serious business, me I tell you!


No man! Is where think you are?

Trenchtown? This is Brixton.

And it's 50 I want for

each ofthem tune! 50 each.

All right, all right. Hold on a minute.

I tell you what I'm gonna do. I'm

gonna do you a favour, sound man,

because I know you for a long time

and I want you to win this

competition Sunday with me tune.

That's a rude thing you

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Franco Rosso

Franco Rosso (29 August 1941 – 9 December 2016), was an Italian-born film producer and director based in England, whose films demonstrate "rare sympathy and understanding with minority groups in general, immigrant minority groups in particular." He is known for making films about Black British culture, and in particular for the 1980 cult film Babylon, about Black youth in south London, which was backed by the National Film Finance Corporation. more…

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Submitted on August 05, 2018

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    "Babylon" STANDS4 LLC, 2024. Web. 16 Jul 2024. <>.

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