Oppressive Memories and "The Babadook"

Rating: 10/10 (2 December 2014)

The Babadook (the debut feature written and directed by Jennifer Kent) is a great film. It uses an overarching metaphor and hyperbole to communicate the true horror: the devastating loss of a loved one, and the possibly more devastating state of having to cope with the event. The metaphor and hyperbole, together, identify a demonic/monstrous/evil and oppressive spirit (the Babadook) with the memory of losing a loved one; in this case, Amelia's husband.
To start, Amelia (Essie Davis) is distressed and irritable. This is easily understood. Her son, Samuel (Noah Wiseman), pesters, "Mom!" "Mom!" "Look!" "Look!" Even worse (literally), he's excessively fearful and paranoid of monsters. In the beginning, we see fast cuts of Amelia checking his closet and under his bed for these monsters in repetitive fashion, a useful technique for describing Amelia and the life she lives. Her energetic and impulsive son doesn't feel this way, where each day is a drag and there's nothing to live for. Instead, he's concerned with building clever weapons for monster killing--a Van Helsing of sorts.
The film utilizes familiar techniques such as objects popping in the empty spaces of the frame, whether in mirrors or in dark corners; sound effects, like booming door knocks and scratching; lighting and colors, i.e. darkly lit rooms and dark, paled and cold grays and blues. In this particular film, however, there is still tension in daylight. Event still, particularly with typical sound effects, I was impressed. The sound effects stand out intensely, especially when they are at their most obnoxious--pestering even--leaving a lot to the imagination and hoping to never see what one is imagining.
This film can compete with any dramatic film when it comes to bleakness of losing someone–and coping. The film truly explores the bounds of how oppressive, almost demonic, such an event can be. Because after all, such an event is truly devastating and horrific.