To usher in the month long viewing of horror films I finally
sat down with some friends to watch THE BABADOOK and this may well be the
scariest movie about grief and depression I've ever seen. I had managed to keep
myself fairly unaware of much about the film's story but I was aware of it
causing some fans of the genre to complain that first time director Jennifer
Kent merely cut and pasted scenes from classic horror films. Now that I've seen
the picture I have to say that the critics have a point in that it is easy to
spot lifts from a number of great movies of the past including some David Lynch
visuals, a few EXORCIST moments and some interesting ideas from THE CABINET OF
DR. CALIGARI. Of course, in the end (spoiler!!) the film can also be seen as a 21st
century variation on Polanski's REPULSION (1965) with added guilt and family
problems. But the viewers that reject THE BABADOOK because of these borrowings
are being too clever by half because director Kent makes her lifts plain for
all to see by showing us the film's characters watching several of the movies
she then goes on to reference. Indeed, if as a knowledgeable horror fan, you
cannot spot the obvious nods and clever reflections of the classic movies she
weaves into her tale you are missing her point. It's a major plot point (and
narrative clue) to the nature of the horror unfolding that the main character is aware of these films. By the time we witness a scene in which the
main character is watching the 'Drop of Water' segment of Mario Bava's BLACK
SABBATH (1963) this should be clear and it presages a wrenching, chilling revelation. This is a good film that announces a new talent I'll be interested to follow in the future even as I
feel that this movie shows that she might move out of horror and into straight
dramas. I hope not.
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3 comments:
Babadook= a bad book
Yeah- I thought that was obvious and expected it to be a plot point in the film. Strange that it wasn't.
I watched it a couple months ago and it is one of the few newer horror films to impress me.
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