The Babadook has been making
waves all over the place. So much so, that I feel the film has become
a victim of over-hype. That's not to say The Babadook isn't
any any good, but the glowing press creates expectations that can't
ever be met. I even heard it said this was a top-notch possession
film, which it isn't. A possession film, I mean. The Babadook
is a psychological musing on grief.
Nearly seven years have passed since
her husband's death, but time holds little meaning for Amelia. She
lives day-to-day, nursing the raw, open wound left by Oskar's
unexpected and violent passing. Her young son, Sam, reminds her too
much of Oskar and Amelia has a difficult time loving her child. Into
this unhappy home enters Mr. Babadook, a shadowy monster brought to
life in a pop-up book. Sam insists the Babadook is real, which only
angers Amelia, but even she can't explain or deny the strange voice
she hears or the dread she feels at night.
The film is set mostly within the
suffocating space of Amelia's house. As Sam is taken out of school,
and Amelia looses her job, the movie turns inward cutting itself off
from the rest of the world to focus on Sam and Amelia's growing
psychosis. Journeys outside the home end badly for everyone and so
the film takes on an enclosed feeling as Amelia becomes more
withdrawn, shutting herself and her son inside their home.
The Babadook is a slow burn and,
like Poltergeist, endings don't come easy. As a manifestation of her
grief, the Babadook has power of Amelia, and she will be haunted by
her husband's ghost until she can find it within herself to move on.
More to the point, Amelia's tragic inability to let go is having a
negative effect on Sam. If she can't get it together soon, she risks
losing her son. But Amelia revels in her grief, identifies herself
through her suffering, and letting go is scary for her. Scary like
the Babadook.
The Babadook is more atmospheric
than it is outright terrifying, although the film does reward the
audience with a few glimpses of the monster. Most of the runtime is
held over for exploring Amelia's and Sam's fractured psyches. Visual
cues remind us of the ever-present threat of Mr. Babadook, while the
look and feel of Amelia's home pays homage to the German
Expressionism cinema of the early 20th century. There's no
intensified continuity here, no fast-paced editing or shakycam. The
Babadook trades on stable camerawork, some clever effects, and a
brooding pace that leaves time to think and worry about what will
happen next.
The film's warm reception and glowing
reviews earned it a special place on the Toronto After Dark
programme: the closing gala. Having sold out in record time, the
festival added a second late-night screening to accommodate
disappointed horror fans. Most sold-out shows have one or two empty
seats, but The Babadook played to a full house, which included
the grandparents of Noah Wiseman, the boy who plays Sam. I hope
they're proud of him.
The Babadook's praise is
well-deserved but audience members should be cautioned against
falling victim to the hype. I hesitate to suggest part of that hype
has to do with The Babadook being helmed by a first-time
female director, but the fact of the matter is there are few women
out there making horror movies and so we tend to give special
attention to those who are.
All caveats aside, Jennifer Kent has
delivered a wonderfully crafted psychological horror movie full of
atmosphere and suspense. If you're growing tired of jump scares and
torture porn, have a look at The Babadook.
1 comment:
I read about it http://onlineclassmentor.com/about_us I kind of liked the story, and they did not write bad reviews. but talk about the film is clearly intolerable
Post a Comment