Jennifer Kent wrote and directed the Australian horror film, The Babadook. Based on the short film, also by Kent, The Babadook rose to critical acclaim after being premiered at the Sundance Film Festival. This is Kent’s debut feature film, drawing inspiration from early horror, fairy tales, and magic. Kent puts a hand-crafted twist on a traditional tale. The Babadook explores real-life horrors through well-timed scares and psychological suspense.
The film takes place in the two weeks before Samuel’s (Noah Wiseman) seventh birthday, which coincides with the anniversary of his father’s death. He often tells the story when he meets someone knew: his father died driving his mother, Amelia (Essie Davis), to the hospital to give birth to him. Sam is fascinated with his father, but Amelia refuses to speak of him; she hasn’t been quite the same since. She gave up writing to support her son as an orderly. Her detachment is obvious. Sam loves his mother unconditionally but notices her shortcomings and tries his best to help her. They are close but Amelia’s baggage is clearly weighing on the pair.
One night, Sam chooses a new bedtime book from his shelf, Mister Babadook. It is unfamiliar to him and his mother but they start to read. As the children’s book grows dark, Sam and Amelia become unsettled. The book seems to be speaking to them specifically, trying to convince them to let Mister Babadook in. Sam grows frightened and can’t seem to shake it. The book is gone but the damage has been done. He acts out causing Amelia to take him out of school, for fear of his safety and others. As her stress level rises and the date of Sam’s birthday draws nearer, Amelia begins to unravel. The book reappears and nightmares become real. You can’t get rid of the Babadook…
Resembling the pop-up book from which it is titled, this film plays with visual design to invoke a sense of mourning. Kent uses old-fashioned shadow play and sound effects to convey the sense of dread in the characters’ lives. The Babadook is an externalization of Amelia’s grief; it’s easier to confront a ghoul than her own reality. “If it’s in a word or in a look. You can’t get rid of the Babadook. I’ll wager with you. I’ll make you a bet. The more you deny, the stronger I get. The Babadook is growing right under your skin.” The parallels between the Babadook and Amelia’s mourning are ingenious.
This analogy is really brilliant. Amelia’s begins by denying the Babadook’s existence, as she has done with her feelings of despair. But, Sam can see through her charade and insists the Babadook is real. He is shown only in shadows and without a true form. At times he appears as Amelia’s deceased husband, asking for the boy. Amelia eventually experiences the Babadook, admitting to herself that her mourning has never ended. She is overtaken by the demon as she tries to take back control of her emotions. During her possession, her neighbor and son express their love for her despite her perceived unlovable feelings. This is the encouragement she needs to expel the Babadook. It flees to the basement. Amelia’s grief has a home where she can visit. She soothes the Babadook, regaining control.
Although this film uses many familiar horror techniques, Kent puts her spin on them by adding this giant metaphor to the whole thing. The Babadook is expelled through Amelia vomiting up some kind of black good, which has become synonymous with dark forces in today’s horror. Kent also pays homage to classic horror. She employs a lo-fi technique to depict the Babadook, using stop motion for the monster’s appearances. Although Kent’s production choices set The Babadook apart, the performances of the lead actors are remarkable. This is Wiseman’s debut. His character is intense and well-acted, managing to shock audience while still keeping them emotionally invested. Davis’ character could seem unlikeable but her performance allows the audience to sympathize and understand her plight. The Babadook is a refreshingly impactful horror film in a sea of cheap scares. With impressive production quality and meaningful analogy, the real terror of the Babadook lies deep within.
Sarah is a junior Accountancy major at TCNJ. A co-host on WTSR's "Reel Talk," her favorite movies include (500) Days of Summer, The Rocky Horror Picture Show, Blue Valentine and Gone Girl. Some of her favorite TV shows are The Walking Dead, Breaking Bad, Scrubs, House of Cards, True Detective, and Portlandia. Music-wise, she enjoys alt-rock, mostly Dashboard Confessional, Death Cab, She & Him, and plenty more. She also loves pugs and zombies.