The Babadook breathes new life into horror genre

THE Babadook succeeds in finding a fresh perspective on the familiar haunted-house movie genre.

Noah Wiseman and Essie Davis in a scene from the film, The Babadook Supplied by Umbrella Entertainment Picture: Supplied

NOT so long ago, the South Australian film 52 Tuesdays received a limited release, and now comes another production from that state: The Babadook. Both are set in dingy suburban houses in Adelaide, both are direct­ed by women, and both deal with events most would consider strange. Whereas 52 Tuesdays was about a mother who undergoes a sex change, The Babadook is a horror film about a mother who finds herself haunted by a particularly threatening ghost.

Written and directed by Jennifer Kent, the film introduces us to Amelia (Essie Davis) and her six-year-old son, Samuel (Noah Wiseman). Amelia has never quite recovered from the death of her husband, Oskar (played in brief flashbacks by Ben Winspear), who was killed in a crash that occurred while he was driving her to the hospital to give birth.

On the surface she seems to have adjusted reasonably well; she works in a home for the elderly, she’s kind and thoughtful towards her neighbour, she seems fairly calm. Yet, as beautifully and resonantly played by Davis, it’s clear that something’s wrong with a still-­attractive widow whose horizons are so limited.

Her sister (Hayley McElhinney) is clearly concerned but is also wary of her. A great deal of this wariness and concern is due to Sam, who is prone to nightmares. The boy is hyperactive, volatile and unpredictable, and has an unhealthy interest in weapons and games involving violence — young Wiseman’s performance is sensationally good. No wonder the sister is nervous: this kid is potentially dangerous.

The tense situation is exacerbated when, one night, Sam produces a book for his mother to read to him: Mister Babadook has a bright red cover and vividly, almost brutally, drawn illustrations of a very sinister character. Once the Babadook has entered the house, he’s not easily ejected, as Amelia soon discovers, and all kinds of evil are attributed to this crudely drawn character. When there’s a piece of glass in Amelia’s soup: “The Babadook did it!”

The haunted-house movie in all its myriad variations is such a familiar genre that it’s difficult to believe anything new could be derived from the concept. Kent succeeds triumphantly in breathing new life into familiar material, so much so that it’s no surprise that the film was well received at Sundance earlier this year.

Made on what appears to be a modest budget, The Babadook proves once again that an original and personal vision is the principal requisite for an interesting film, but in this case the director’s work with two wonderful actors is crucial to the film’s success.

On the strength of this edge-of-the-seat ­experience, Kent could become another of our filmmakers snapped up by Hollywood, but if she is, I doubt she’ll make as interesting a film as this one.

The Babadook (M)

4 stars

Limited release