Whenever
a strange book mysteriously turns up, google it before cracking it open for a
bedtime story. Like Candyman, the protagonist of a creepy picture book arrives
when bidden and there will be no getting rid of him in Jennifer Kent’s The Babadook (trailer here), which screens
during this year’s New Directors/New Films, co-presented by the Film Society of
Lincoln Center and MoMA.
Six
years ago, Amelia husband was killed in a traffic accident as he was rushing
her to the hospital. She survived to delivery Samuel, their physical healthy
but deeply maladjusted son. Naturally, celebrating his birthday is always
awkward affair. Prone to acting out, Samuel is a real handful. Lately, he is
pushing his still grieving mother to her breaking point. Then a rather
peculiar picture book titled Mr. Babadook
appears.
Since
Samuel is fascinated by magic and old school magicians, the hirsute creature in
a top hat depicted on the cover initially suggests it might be his cup of tea,
but its true nature quickly becomes apparent. Both mother and son are soon plagued
by Babadooky nightmares. Before long, the Babadook seems to take corporeal
form, constantly lurking in the shadows. Try as they might, they cannot lose or
destroy that infernal book and its constant reminder: “you can’t get rid of the
Babadook.”
On
paper, Babadook might sound like an atypical
genre selection for ND/NF, but former Australian TV thesp Kent is indeed a new
director. She also takes a stylish approach to the material. Max Schreck’s Nosferatu
would feel at home in Amelia’s severely gray, creaky old house. In a nice hat
tip, the magically themed films of George Méliès are often seen on television,
further setting the mood. Likewise, Alex Juhasz’s Babadook illustrates are
creepy and eccentric, recalling the better work of Tim Burton before he lost
his edge.
By
genre standards, Babadook is an
unusually accomplished production, but its two tormented leads really try a
viewer’s patience. Admittedly, some serious paranormal skullduggery is afoot,
but Essie Davis’s Amelia becomes rather problematically overwrought, flirting
with outright melodrama. Usually, moms are the level-headed ones in times of
crisis, but not here. Likewise, the clammy bug-eyed presence of her partner in
this near two-hander often undercuts the drama.
