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IFC Films

10 Surprising Facts About The Babadook

IFC Films
IFC Films

In 2014, The Babadook came out of nowhere and scared audiences across the globe. Written and directed by Aussie Jennifer Kent, and based on her short film Monster, The Babadook is about a widow named Amelia (played by Kent’s drama schoolmate Essie Davis) who has trouble controlling her young son Samuel (Noah Wiseman), who thinks there’s a monster living in their house. Amelia reads Samuel a pop-up book, Mister Babadook, and Samuel manifests the creature into a real-life monster. The Babadook may be the villain, but the film explores the pitfalls of parenting and grief in an emotional way. 

“I never approached this as a straight horror film,” Kent told Complex. “I always was drawn to the idea of grief, and the suppression of that grief, and the question of, how would that affect a person? ... But at the core of it, it’s about the mother and child, and their relationship.”

Shot on a $2 million budget, the film grossed more than $10.3 million worldwide and gained an even wider audience via streaming networks. Instead of creating Babadook out of CGI, a team generated the images in-camera, inspired by the silent films of Georges Méliès and Lon Chaney. Here are 10 things you might not have known about The Babadook (dook, dook).

1. THE NAME “BABADOOK” WAS EASY FOR A CHILD TO INVENT.

Jennifer Kent told Complex that some people thought the creature’s name sounded “silly,” which she agreed with. “I wanted it to be like something a child could make up, like ‘jabberwocky’ or some other nonsensical name,” she explained. “I wanted to create a new myth that was just solely of this film and didn’t exist anywhere else.”

2. JENNIFER KENT WAS WORRIED PEOPLE WOULD JUDGE THE MOTHER.

Amelia isn’t the best mother in the world—but that’s the point. “I’m not a parent,” Kent told Rolling Stone, “but I’m surrounded by friends and family who are, and I see it from the outside … how parenting seems hard and never-ending.” She thought Amelia would receive “a lot of flak” for her flawed parenting, but the opposite happened. “I think it’s given a lot of women a sense of reassurance to see a real human being up there,” Kent said. “We don’t get to see characters like her that often.”

3. KENT AND ESSIE DAVIS TONED DOWN THE CONTENT FOR THE KID.

Noah Wiseman was six years old when he played Samuel. Kent and Davis made sure he wasn’t present for the more horrific scenes, like when Amelia tells Samuel she wishes he was the one who died, not her husband. “During the reverse shots, where Amelia was abusing Sam verbally, we had Essie yell at an adult stand-in on his knees,” Kent told Film Journal. “I didn’t want to destroy a childhood to make this film—that wouldn’t be fair.”

Kent explained a “kiddie version” of the plot to Wiseman. “I said, ‘Basically, Sam is trying to save his mother and it’s a film about the power of love.’”

4. THE FILM IS ALSO ABOUT “FACING OUR SHADOW SIDE.”


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Kent told Film Journal that “The Babadook is a film about a woman waking up from a long, metaphorical sleep and finding that she has the power to protect herself and her son.” She noted that everybody has darkness to face. “Beyond genre and beyond being scary, that’s the most important thing in the film—facing our shadow side.”

5. THE FILM SCARED THE HELL OUT OF THE DIRECTOR OF THE EXORCIST.

In an interview with Uproxx, William Friedkin—director of The Exorcist—said The Babadook was one of the best and scariest horror films he’d ever seen. He especially liked the emotional aspect of the film. “It’s not only the simplicity of the filmmaking and the excellence of the acting not only by the two leads, but it’s the way the film works slowly but inevitably on your emotions,” he said.

6. AN ART DEPARTMENT ASSISTANT SCORED THE ROLE AS THE BABADOOK.

Tim Purcell worked in the film’s art department but then got talked into playing the titular character after he acted as the creature for some camera tests. “They realized they could save some money, and have me just be the Babadook, and hence I became the Babadook,” Purcell told New York Magazine. “In terms of direction, it was ‘be still a lot,’” he said.

7. THE MOVIE BOMBED IN ITS NATIVE AUSTRALIA.

Even though Kent shot the film in Adelaide, Australians didn’t flock to the theaters; it grossed just $258,000 in its native country. “Australians have this [built-in] aversion to seeing Australian films,” Kent told The Cut. “They hardly ever get excited about their own stuff. We only tend to love things once everyone else confirms they’re good … Australian creatives have always had to go overseas to get recognition. I hope one day we can make a film or work of art and Australians can think it’s good regardless of what the rest of the world thinks.”

8. YOU CAN OWN A MISTER BABADOOK BOOK (BUT IT WILL COST YOU). 


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In 2015, Insight Editions published 6200 pop-up books of Mister Babadook. Kent worked with the film’s illustrator, Alexander Juhasz, who created the book for the movie. He and paper engineer Simon Arizpe brought the pages to life for the published version. All copies sold out but you can find some Kent-signed ones on eBay, going for as much as $500.

9. THE BABADOOK IS A GAY ICON.

It started at the end of 2016, when a Tumblr user started a jokey thread about how he thought the Babadook was gay. “It started picking up steam within a few weeks,” Ian, the Tumblr user, told New York Magazine, “because individuals who I presume are heterosexual kind of freaked out over the assertion that a horror movie villain would identify as queer—which I think was the actual humor of the post, as opposed to just the outright statement that the Babadook is gay.” In June, the Babadook became a symbol for Gay Pride month. Images of the character appeared everywhere at this year's Gay Pride Parade in Los Angeles.

10. DON'T HOLD YOUR BREATH FOR A SEQUEL.

Kent, who owns the rights to The Babadook, told IGN that, despite the original film's popularity, she's not planning on making any sequels. “The reason for that is I will never allow any sequel to be made, because it’s not that kind of film,” she said. “I don’t care how much I’m offered, it’s just not going to happen.”

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Karl Walter, Getty Images
When the FBI Investigated the 'Murder' of Nine Inch Nails's Trent Reznor
Karl Walter, Getty Images
Karl Walter, Getty Images

The two people standing over the body, Michigan State Police detective Paul Wood told the Hard Copy cameras, “had a distinctive-type uniform on. As I recall: black pants, some type of leather jacket with a design on it, and one was wearing combat boots. The other was wearing what looked like patent leather shoes. So if it was a homicide, I was thinking it was possibly a gang-type homicide.”

Wood was describing a puzzling case local police, state police, and eventually the FBI had worked hard to solve for over a year. The mystery began in 1989, when farmer Robert Reed spotted a circular group of objects floating over his farm just outside of rural Burr Oak, Michigan; it turned out to be a cluster of weather balloons attached to a Super 8 camera.

When the camera landed on his property, the surprised farmer didn't develop the footage—he turned it over to the police. Some local farmers had recently gotten into trouble for letting wild marijuana grow on the edges of their properties, and Reed thought the balloons and camera were a possible surveillance technique. But no state or local jurisdictions used such rudimentary methods, so the state police in East Lansing decided to develop the film. What they saw shocked them.

A city street at night; a lifeless male body with a mysterious substance strewn across his face; two black-clad men standing over the body as the camera swirled away up into the sky, with a third individual seen at the edge of the frame running away, seemingly as fast as possible. Michigan police immediately began analyzing the footage for clues, and noticed the lights of Chicago’s elevated train system, which was over 100 miles away.

It was the first clue in what would become a year-long investigation into what they believed was either a cult killing or gang murder. When they solved the “crime” of what they believed was a real-life snuff film, they were more shocked than when the investigation began: The footage was from the music video for “Down In It,” the debut single from industrial rock band Nine Inch Nails, and the supposed dead body was the group's very-much-alive lead singer, Trent Reznor.

 
 

In 1989, Nine Inch Nails was about to release their debut album, Pretty Hate Machine, which would go on to be certified triple platinum in the United States. The record would define the emerging industrial rock sound that Reznor and his rotating cast of bandmates would experiment with throughout the 1990s and even today on albums like The Downward Spiral and The Slip.

The band chose the song “Down In It”—a track with piercing vocals, pulsing electronic drums, sampled sound effects, and twisted nursery rhyme-inspired lyrics—as Pretty Hate Machine's first single. They began working with H-Gun, a Chicago-based multimedia team led by filmmakers Eric Zimmerman and Benjamin Stokes (who had created videos for such bands as Ministry and Revolting Cocks), and sketched out a rough idea for the music video.

Filmed on location among warehouses and parking garages in Chicago, the video was supposed to culminate in a shot with a leather-jacketed Reznor running to the top of a building, while two then-members of the band followed him wearing studded jumpsuits; the video would fade out with an epic floating zoom shot to imply that Reznor's cornstarch-for-blood-covered character had fallen off the building and died in the street. Because the cash-strapped upstarts didn’t have enough money for a fancy crane to achieve the shot for their video, they opted to tie weather balloons to the camera and let it float up from Reznor, who was lying in the street surrounded by his bandmates. They eventually hoped to play the footage backward to get the shot in the final video.

Instead, the Windy City lived up to its name and quickly whisked the balloons and camera away. With Reznor playing dead and his bandmates looking down at him, only one of the filmmakers noticed. He tried to chase down the runaway camera—which captured his pursuit—but it was lost, forcing them to finish shooting the rest of the video and release it without the planned shot from the missing footage in September of 1989.

Meanwhile, unbeknownst to the band, a drama involving their lost camera was unfolding in southwest Michigan. Police there eventually involved the Chicago police, whose detectives determined that the footage had been filmed in an alley in the city's Fulton River District. After Chicago authorities found no homicide reports matching the footage for the neighborhood and that particular time frame, they handed the video over to the FBI, whose pathologists reportedly said that, based on the substance on the individual, the body in the video was rotting.

 
 

The "substance" in question was actually the result of the low-quality film and the color of the cornstarch on the singer’s face, which had also been incorporated into the press photos for Pretty Hate Machine. It was a nod to the band's early live shows, in which Reznor would spew cornstarch and chocolate syrup on his band members and the audience. “It looks really great under the lights, grungey, a sort of anti-Bon Jovi and the whole glamour thing,” Reznor said in a 1991 interview.

With no other easy options, and in order to generate any leads that might help them identify the victim seen in the video, the authorities distributed flyers to Chicago schools asking if anyone knew any details behind the strange “killing.”

The tactic worked. A local art student was watching MTV in 1991 and saw the distinctive video for “Down In It,” which reminded him of one of the flyers he had seen at school. He contacted the Chicago police to tip them off to who their supposed "murder victim" really was. Nine Inch Nails’s manager was notified, and he told Reznor and the filmmakers what had really happened to their lost footage.

“It’s interesting that our top federal agency, the Federal Bureau of [Investigation], couldn’t crack the Super 8 code,” co-director Zimmerman said in an interview. As for Wood and any embarrassment law enforcement had after the investigation: “I thought it was our duty, one way or the other, to determine what was on that film,” he said.

“My initial reaction was that it was really funny that something could be that blown out of proportion with this many people worked up about it,” Reznor said, and later told an interviewer, “There was talk that I would have to appear and talk to prove that I was alive.” Even though—in the eyes of state, local, and federal authorities—he was reportedly dead for over a year, Reznor didn’t seem to be bothered by it: “Somebody at the FBI had been watching too much Hitchcock or David Lynch or something,” he reasoned.

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Courtesy of Park Circus and MGM
West Side Story Is Returning to Theaters This Weekend
Courtesy of Park Circus and MGM
Courtesy of Park Circus and MGM

As Chris Pratt and a gang of prehistoric creatures get ready to face off against some animated superheroes for this weekend’s box office dominance, an old rivalry is brewing once again on Manhattan’s Upper West Side. West Side Story—Robert Wise and Jerome Robbins’s classic big-screen rendering of Leonard Bernstein and Stephen Sondheim’s Broadway musical—is returning to cinemas for the first time in nearly 30 years.

As part of TCM’s Big Screen Classics Series, West Side Story will have special screening engagements at more than 600 theaters across the country on Sunday, June 24 at 2 p.m. and 7 p.m. If you can’t make it this weekend, encores will screen at the same time on Wednesday, June 27. The film—which is being re-released courtesy of TCM, Fathom Events, Park Circus, and Metro Goldwyn Mayer—will be presented in its original widescreen format, and include its original mid-film intermission. (Though its 2.5-hour runtime is practically standard nowadays, that wasn’t the case a half-century ago.) The screening will include an introduction and some post-credit commentary by TCM’s Ben Mankiewicz.

West Side Story, which was named Best Picture of 1961, is a musical retelling of Romeo and Juliet that sees star-crossed lovers Maria (Natalie Wood) and Tony (Richard Beymer) navigate the challenges of immigration, racial tension, and inner-city life in mid-century Manhattan—but with lots of singing and dancing. In addition to being named Best Picture, the beloved film took home another nine Oscars, including Best Director, Best Supporting Actor and Actress (for George Chakiris and Rita Moreno, respectively), and Best Music—obviously.

To find out if West Side Story is screening near you, and to purchase tickets, visit Fathom Events’s website.

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