“A rumbling sound then three sharp knocks
Ba BA-ba DOOK! DOOK! DOOK!
That’s when you’ll know that he’s around…
You’ll see him if you look.”
Critically acclaimed by all, a firm-favourite at the Sun Dance festival and with a (current) 95% rating on Rotten Tomatoes, the Babadook had some big boots to fill. Time Out New York said “there goes your good night’s sleep…”, but did the Babadook-dook-dook keep us awake at night?
The film opens with the untimely death of Oskar, Amelia’s husband, and we are shown immediately that Samuel (the boy, played by Noah Wiseman) is anything but normal. Hard to love, clingy and downright unnerving (not to mention weird-looking), one can immediately see that although Amelia is a kind and warm person – she works as a nurse in a retirement home – she has no emotional bond with her son.
Brandishing a home-brewed micro-catapault (at times the booby traps set up by Sam reminded us of the Home Alone series, albeit slightly more sinister) the 6 year old embarks on a series of antagonising events which culminate in his expulsion from school, and this only serves to further drive a wedge between him and his Mother. The reason behind his strange (and incredibly annoying) behaviour? The Babadook.
After a mysterious, unlabelled book arrives in Sam’s bedroom, Amelia and Sam are both understandably shocked by the disturbing contents of the oh-so creepy (but nicely illustrated) story. The creepy illustrations expand into the special effects… the ‘cartoon’ theme is present throughout the entire production. In other films this would have jarred (and basically looked off), but in this instance it perfectly complements both the style and story. A prime example is when the Babadook zips across the bedroom ceiling whilst Amelia watches in sheer terror, in what Chris describes as a ‘road runner-ish’ manner. Jerky and crudely animated and by no means perfect, but ideal in this setting.
Amelia and Sam find themselves almost entirely shunned from society (apart from the sweet-hearted elderly neighbour) and, along with their dog, they all become isolated within their home. Despite ripping up the book in a bid to get rid of the presence, the book soon returns fully-repaired to her doorstep, with some chilling new additions. Scenes depict Amelia killing the dog, Sam and herself. At this point, things really start to spiral out of control and take a turn for the worst. Essie Davis portrays Amelia’s descent into madness with an almost chilling accuracy. She battles seeing the Babadook impersonate the late Oskar, and this illustrates the entire point of the film. This is not a film with jumpy moments strung together with a flimsy plot, but this is a film that explores something far more dark. It is a psychological terror, and one which explores some very interesting, and possibly controversial, themes.
We found ourselves simultaneously sympathising and fearing her. We can’t commend her performance highly enough – without sounding excessively sycophantic, Essie Davis is a complete babe. Well played, Australia.
The official flag of Australia (in homage of Essie)
The slowly-paced tension and fear crash together in a violent crescendo, where the Babadook’s predictions seem to have come to fruition and Amelia has finally become the instrument for the inevitable chaos that ensues. Dog-murders and child-strangling aside , Davis’ portrayal is graphic. Incredible. The entire film’s success is based on her performance. One particular scene reminded us of the pantry scene from our favourite classic – The Shining – and Davis’ character evokes the madness that Nicholson had done so well before her. Coming from Laura, The Shining’s biggest fan, this is high praise indeed. The Babadook is Jennifer Kent’s directoral debut, and she has set the bar high. This is not a film that ends when you walk out of the theatre – thought-provoking, chilling and downright scary.
The film ends on a refreshing note – everything is not perfect, and there isn’t a ‘happily ever after’. After all, you can’t get rid of the Babadook…
The Lampy-metre
(the scale of how many lamps you will need on to sleep after watching)
Film Facts:
- Directed by: Jennifer Kent
- Running time: 94 minutes
If you liked this, you should check out:
- The Shining (1980) – which you should have already
- Rosemary’s Baby (1968)
- The Skeleton Key (2005)
It's Under The Bed... 