<p class="p1"><span class="s1">No matter how one feels about parenting or the decision to have children, it is abundantly clear that the burden of child-rearing can be an absolute nightmare. Despite what Hollywood generally wants us to think, children are frustrating. They are either loud or suspiciously quiet; they are temperamental and demanding; they lack reasoning skills and move swiftly from one ridiculous whim to another. Children can test the patience of even the most stalwart adult.</span></p>
<p class="p1"><span class="s1">This rant brings me to <em>The Babadook</em>, an Australian film that is as much a boogeyman story as it is a cautionary tale on the horrors of parenting. Essie Davis plays Amelia, an overworked and under-appreciated widow and mother. Amelia’s late husband died in a car accident while driving her to the hospital to give birth to their first child, Samuel (Noah Wiseman). Thus, Samuel is a daily reminder of the painful event that forever changed their lives. Though Amelia loves her son very deeply, he is a curious child whose behavior often causes problems for her and produces silent, and sometimes not-so-silent judgement from others. One night, Samuel asks Amelia to read him a bedtime story from a mysterious book called <em>Mister Babadook</em>. The pop-up book’s macabre imagery and tone frighten Samuel, causing Amelia to cut the reading short. In the following days, Samuel’s behavior becomes increasingly erratic, and the house is plagued by strange occurrences and apparitions, testing Amelia’s resolve, and even her sanity.</span></p>
<p class="p1"><span class="s1"><em>The Babadook</em> succeeds where other horror film’s have failed by seamlessly combining two disparate storylines that share similar themes. If one were to remove the fantastic horror from the film, it would simply be a frightening story about a woman driven mad by a problematic child. However, if the latter storyline were instead removed, it would just be a story about a supernatural boogeyman haunting a mother and her child. Thankfully, the two main components of the film converge to form something far greater than the sum of their parts. Parenting is stressful, and boogeymen are frightening, so utilizing both is an ingenious method for creating anxiety-ridden horror. Amelia is attacked on all fronts, giving her a sense of isolation that amplifies our identification with her, as well as the sense of sheer terror and confusion.</span></p>
<figure id="attachment_1459" aria-describedby="caption-attachment-1459" style="width: 855px" class="wp-caption aligncenter"><img class="wp-image-1459" src="https://philosophyinfilm.com/wp-content/uploads/2018/07/dibujos-malrolleros-y-posesiones-chungas-con-the-babadook-300x166.jpg" alt="" width="855" height="473" /><figcaption id="caption-attachment-1459" class="wp-caption-text">The Babadook (2014)</figcaption></figure>
<p class="p1"><span class="s1">It goes without saying that Essie Davis’ performance is fantastic. She fits so naturally into the character that one could imagine it being a reflection of her true self. Her rapport with Samuel is not overly sentimental, nor is it cold and uncomfortable; she loves him, and tries her best to navigate the intricacies of his unique personality, while also trying to provide a good life for them both and appease the social demands of being a parent. When fellow parents, neighbors, and Samuel’s school add to the stresses of Amelia’s life, she returns home only to be hounded by her past, Samuel’s behavior, and eventually a malevolent spirit. She runs out of safe spaces to hide, only to have her mind turn against her completely.</span></p>
<p class="p1"><span class="s1">One aspect of <em>The Babadook</em> that may deter some from enjoying it to the fullest is the monster itself. While the imagery is terrifying and the filmmaker’s do an excellent job developing an atmosphere of anxiety, there are times that the monster takes a backseat to other elements of the story. The Babadook is technically the center of the horror, but much more importance is given to the relationship between Amelia and Samuel, allowing for the monster to be an embodiment of their struggles rather than a direct cause. It certainly amplifies the horror in their lives, but those viewers looking for a straightforward monster movie might be disappointed with the lack of screen-time the monster receives. However, if the film were to focus more on the Babadook as a physical monster terrorizing Amelia, it would cheapen itself, and be less impactful overall. The dynamic of a worn-out mother dealing with a particularly complicated child gives rise to more than enough tension to justify sidelining the monster.</span></p>
<p class="p1"><span class="s1">Despite the lack of monster-driven scenes, <em>The Babadook</em> is an excellent horror film that also ruminates on the complications of parenthood. It is both terrifying and enlightening, and showcases the talents of Essie Davis and director Jennifer Kent.</span></p>
<p class="p1"><span class="s1"><em>The Babadook</em> is currently available to rent or purchase via Amazon <a href="https://www.amazon.com/gp/product/B00P5968FC/ref=as_li_qf_asin_il_tl?ie=UTF8&;tag=mjones34880c-20&;creative=9325&;linkCode=as2&;creativeASIN=B00P5968FC&;linkId=96f2ad6cfc36877120bca36f8b0b20cc"><u>here</u></a>.</span></p>
<p class="p1"><span class="s1">Rating: </span><span class="s2">★★★★</span><span class="s1"> out of 5</span></p>

Review: The Babadook (2014) ★★★★
