FRANCO ROSSO, BORN OF ITALIAN PARANTAGE, WENT TO LONDON AT THE AGE OF NINE AND EXPERIENCED MUCH OF THE HOSTILITY AND DISTRUST BLACK IMMIGRANTS WERE EXPERIENCING TOO. AFTER ENTERING CAMBERWELL SCHOOL OF ART, HIS INTEREST IN FILM DEVELOPED. IN 1980, AFTER HIS FIRST CINEMATIC EXPERIENCE WITH JAMAICAN POET LINTON KWESI JOHNSON, HE DIRECTED A FILM ABOUT BLACK YOUTH GROWING UP IN SOUTH LONDON, CALLED BABYLON. SET IN ON THE STREETS OF LEWISHAM AT THE BEGINNING OF THE THATCHER ERA, THE MOVIE CAPTURES THE TRIALS AND TRIBULATIONS OF A REGGAE SOUND SYSTEM CONSISTING OF BLUE (BRINDSLEY FORDE OF ASWAD) AND HIS MATES.
THE MOVIE WAS CO-WRITTEN BY MARTIN STELLMAN (WRITER OF QUADROPHENIA) AND STARRED BRIAN BOVELL, VICTOR ROMERO EVANS AND TREVOR LAIRD (THE "BLUES' PUSHER" IN QUADROPHENIA) AS "BEEFY". THE MOVIE PRESENTS A PORTAIT OF THE YOUNG BLACK COMMUNITY IN LONDON, WIDELY DIFFERENT FROM THE TABLOID STEREOTYPE AND IT'S THE STORY OF ITAL LION, THE FILM'S FICTIONAL SOUND SYSTEM RUN BY A GROUP OF FRIENDS, VS. SHAKA'S SOUND SYTEM (THE BEST IN REAL 80S BRITISH REGGAE MUSIC).
"TO THE EAST AFRICA, TO THE WEST JAMAICA, FIRST BABYLON. TO THE NORTH, ENGLAND, SECOND BABYLON. BABYLONIAN TRIANGLE OFCAPTIVITY"
THE WORD "BABYLON" IS A MNEMONIC FOR OPRESSION, IN ALL ITS MANIFESTATIONS, SPIRALLING DOWN FROM A MONETARIST, MIDDLE-CALSS GOVERNMENT, THROUGH SUSPICIOUS POLICE PATROL CARS, INTOLERANT AND UNDULY VIOLENT MEMBERS OF THE COMMUNITY TO SOMETHING AS GLUM AS A DOCKED WAGE PACKET. ROSSO DOES NOT ONLY PORTRAITS BLACK YOUTH CONDITION IN 1980, BUT ALSO UNDERLINES THE CONTRADDICTIONS AND INTERNAL FIGHTS OF THEIR COMMUNITY.
(WHITE LADY): "LOOK AT YOU ALL, GOOD FOR NOTHING, NOISY, STINKING FILTH, LAZY, YOU'RE EVERYWHERE, JUNGLEBUNNIES. THIS WAS A LOVELY AREA BEFORE YOU CAME HERE, LOVELY...FUCK OFF BACK TO YOUR OWN COUNTRY, JUNGLEBUNNIES"
BEEFY: "THIS IS MY FUCKING COUNTRY LADY AND IT'S NEVER BEEN FUCKING LOVELY, IT'S ALWAYS BEEN A TIP FOR AS LONG AS I CAN REMEMBER, SO DON'T FUCKING TELL ME, RIGHT, 'CAUSE I NEVER DONE IT, IT WASN'T MY RIGHT...