Reflections on Watching ‘Baby Boom’ in 2015

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As a professional deeply engaged in the dialogue around parenting and gender roles, I recently confronted my own cinematic blind spot: the 1987 film ‘Baby Boom’. This movie, featuring the talented Ellen Hart as a successful New York City management consultant, revolves around her unexpected inheritance—an adorable infant girl instead of the anticipated fortune. My colleagues were incredulous that I had missed this pivotal film, and despite my attempts to justify my absence by citing other significant releases from that year, I ultimately agreed to watch it, curious about its relevance in 2015, especially in light of the societal attitudes towards working mothers.

Upon viewing, I found ‘Baby Boom’ to be a captivating blend of comedy and social commentary, albeit with moments that felt painfully outdated. The film opens with a montage of women in power suits, underscoring the notion of “the new working woman” as a significant societal phenomenon. It evoked a chuckle, followed by a sense of melancholy, as I reflected on the contemporary issues of revenge porn that overshadow such simpler times.

1. The lead character, J.C., is dubbed “The Tiger Lady” at work, a nickname that raises questions about self-acceptance in a sexist environment. Her choice to embrace such a moniker is perplexing, reminiscent of women who derogatorily self-identify.
2. Aesthetically, the film showcases the fashion of the era, including shoulder pads that, while perhaps not the most flattering, possess a geometric appeal. Furthermore, J.C.’s belted suits are a reminder of fashion’s cyclical nature.
3. One standout scene features J.C. taking a call in bed, revealing her nightgown styled like formal attire and her bedside Rolodex, a symbol of her professional status. The juxtaposition of her personal and professional life is striking.
4. The initial handoff of the baby at an airport raises logistical questions about security and the will’s stipulations. Such plot points serve as both humor and a poignant reminder of the complexities surrounding child custody.
5. In a satirical twist, J.C. delivers her baby to a coat check at a restaurant, which may not resonate as humor in today’s context.
6. J.C.’s shopping excursion at FAO Schwarz, where she selects a Cricket doll for her daughter, serves as a nostalgic nod to the toys of the past, yet highlights the frivolity of consumerism.
7. The adoption agency scene, where J.C. nearly relinquishes her child, is played for laughs, yet it raises serious questions about how children are treated within bureaucratic systems.
8. The film’s narrative culminates in J.C. facing discrimination at work due to her new role as a mother, a situation that feels echoing of contemporary workplace dynamics.
9. Observing J.C.’s friends in the park, their fashion choices reflect a bygone era, illustrating the shift in societal norms regarding parenting and personal style.
10. Finally, the romantic subplot featuring Sam Shepard adds a layer of complexity to J.C.’s character journey and personal growth, showcasing the evolution of relationships over time.

In summary, ‘Baby Boom’ serves as both an entertaining watch and a lens through which to explore the persistent challenges faced by working mothers. While some aspects may feel dated, others remain strikingly relevant, prompting reflection on the progress made and the work that still lies ahead. For those interested in the intersections of career and motherhood, this film is a noteworthy cultural artifact.

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