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As for the Babadook, he’s descended from the same nursery rhyme gene pool as Freddy Krueger (and by extension the Struwwelpeters and Scissormen of Heinrich Hoffmann), invoked by childish verse, feeding upon the guilty fears of parents. And it is here that the film’s real power resides – in its depiction of Amelia’s projection of her own paranoias on to the child. When she looks at Sam, she sees her dead husband; no wonder the kid looks so scared. Like Henry James’s The Turn of the Screw (and thereafter Jack Clayton’s The Innocents), the real focus here is not the supernaturally afflicted child but the psychologically disquieted adult.What an interesting double bill this would make with Lynne Ramsay’s provocative We Need to Talk About Kevin, which similarly addresses the taboo subject of maternal paedophobia, albeit from a less fantastical viewpoint. There’s a hint, too, of the protective melancholia of Hideo Nakata’s spine-tingling Dark Water, from which Kent’s multilayered fable borrows both its heartrending theme and ultimate resolution; a strange and terrifying world, seen through the eyes of a mother whom Kent, in an interview, tellingly described as “drowning”.
Watch The Babadook Full Movie For all its eerie visual prowess and assured storytelling skill, none of this would work had Kent not been blessed with such believable leads from whom she draws terrifically nuanced performances. With his cowled eyes and pallid skin, young Noah Wiseman combines the plucky spark of Phantasm’s Michael Baldwin with the haunted gaze of The Hills Have Eyes’ Michael Berryman – a figure of both pity and fear who inspires wildly contradictory impulses in his tormented mother. Sam may be a “problem child” but the real problem lies elsewhere. Essie Davis, the award-winning stage actress and screen regular, turns in a haunted mother performance to rival Belén Rueda in The Orphanage or Nicole Kidman in The Others. It is through her eyes that we experience the narrative’s descent into madness, and it’s to her credit that the film remains so firmly grounded in recognisable human emotions even as the fabulist elements rage and reign. Like Pan’s Labyrinth, this is a tale of two worlds – the incarnate and the imagined – and Davis’s responses make both seem equally “real” and equally alarming.
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