The Baby Maker

The Baby Maker is a unique foray into the social climate of the late 60s and early 70s, exploring themes particularly relevant in today's discourse on reproductive rights and surrogacy. Contrary to the title, this isn't a science-fiction themed film. Instead, it unfolds as a moving drama with strong elements of romance and socio-cultural introspection.

The film stars the versatile Barbara Hershey in the protagonist’s role as Tish Gray, a young, free-spirited woman who embodies the spirit of the counterculture-happy, rebellious youth on the brink of a societal shift. Also featuring are Collin Wilcox Paxton and Sam Groom in pivotal roles that frame the core conflict and narrative arc of the story.

The Baby Maker ingeniously explores the concept of surrogacy, a theme that was quite avant-garde for its time, as it would be several more decades before this subject became commonplace in mainstream conversations about parenthood. Intriguingly, it reveals a narrative that plays with the dichotomy of the traditional family structure and the stirring winds of change brought by the counterculture era.

In the movie, Barbara Hershey’s character, Tish, agrees to be a surrogate for a well-off couple – the heartbroken infertile wife, Suzanne, portrayed by Collin Wilcox Paxton, and her husband, Jay, played by Sam Groom. Yet, Tish isn’t just a mere birth vessel in the story, but a well-etched character whose personal journey intertwines with the couple’s quest for a baby, raising several questions about the societal, ethical, and emotional dimensions of surrogacy.

One strength of The Baby Maker lies in its portrayal of the characters with their unique sensibilities and struggles. On one hand, there’s Tish, the essential free spirit, whose beliefs and ethos reflect the counterculture vibe of the time – being anti-establishment, liberated, and incredibly self-aware. She brings to the table her perspective on life that often clashes with the normative societal structures, offering a refreshing take on issues like motherhood, familial bonds, and personal freedom.

On the other hand, you have Suzanne and Jay, a couple dealing with the harsh reality of infertility. Suzanne's longing for motherhood is a constant undercurrent, while Jay, although a loving husband, comes off as a conservative figure with a set mindset about traditional gender roles and a particular lifestyle. Their interaction with Tish and their experience journeying with her through the process of surrogacy unfolds a gamut of emotions and gives the audience a spectrum of perspectives to ponder.

The film’s genius also lies in its portrayal of the two completely different worlds – the traditional, orderly, and restrained universe of Suzanne and Jay and the vibrant, unconstrained, and liberal space that Tish inhabits. The way these two worlds collide and coexist during the course of the pregnancy forms the crux of the narrative, woven elegantly into the fabric of the storyline. It dreams up a reality that paints in sharp relief the crossroads of youth issues, women's rights, societal norms, and human emotions.

Directed by James Bridges, The Baby Maker was particularly well-received for its screenplay credit going to both himself and a woman, Judy Bridges. Their dexterous treatment of the touchy subject of surrogacy, backed by a fitting soundtrack, distinguishes the movie from other – more mainstream – counterparts of its time.

The Baby Maker thus emerges as a poignant exploration of a controversial theme that was way ahead of its time. It brings to fore the plight of an infertile couple and a young, independent woman in a way that humanizes them to the audience and invites empathy. The movie is a must-watch for those interested in themes of alternative family dynamics, women’s rights, and the counterculture phenomena of the 60s and 70s. It’s also an engaging watch for those who enjoy well-crafted character studies set against an evolving social canvas. With stellar performances, effective storytelling, and thoughtful direction, The Baby Maker remains relevant even half a century after its release.