The Bad Seed (1956)

Directed by: Mervyn LeRoy

Starring: Nancy Kelly, Patty McCormack, Henry Jones, Eileen Heckart, Evelyn Varden, William Hopper

1/2  (out of 4)

I Yam What I Yam!

The nature versus nurture debate takes center stage in director Mervyn LeRoy’s The Bad Seed, which came out in 1956 and was based on the popular play of the same name (written by Maxwell Anderson), which was itself based on a novel by William March. Predating “evil kid” movies like The Omen and The Good Son, The Bad Seed stars a young Patty McCormack as a prim and proper 8 year old blonde with pig tails named Rhoda who just happens to be a complete sociopath. (McCormack had previously played the role on stage). Nancy Kelly plays her mom Christine Penmark, who at first doesn’t want to believe that her precious little Rhoda killed her classmate down by the water because he won the school penmanship medal and she didn’t. After some laughable melodrama involving the dead boy’s mother (Eileen Heckart), who periodically barges into Christine’s household drunk and tosses around J’accuse! at anybody who happens to be in the vicinity, Christine confronts her father only to find out an unfortunate bit of information involving her lineage (you know - she’s adopted, her real mom was a serial killer, etc).

Hubby home soon and no vermouth for the martini!

When a rivalry erupts between Rhoda and the resident janitor man-child Leroy (Henry Jones), the tension and overacting grow to unbearable heights. Leroy isn’t all dumb - he knows what Rhoda did last summer and all that. (I actually rather enjoyed Jones’ performance). Rhoda then torches him in the cellar and very coolly returns to her piano lessons. This leads to an interesting scene where Christine witnesses Leroy’s death by fire and is slowly driven mad by Rhoda’s relentless piano playing of Au Claire de la Lune. Speaking of relentless, the histrionics on the part of all players just doesn’t quit. We should be creeped out by Rhoda’s transformations from cute blond girl to psycho serial killer but little Patty McCormack isn’t experienced enough to display the subtleties necessary for this kind of complex character. Nancy Kelly fares a bit better, but not much - she’s forced to spew out meandering and overdramatic dialogue which pulls us out of the movie.

I Know What You Did 52 Summers Ago

The main problem is that the film version of The Bad Seed is no different from the play in terms of structure and delivery - there’s precious few sets, more talk than action, and it seems like everybody was told to shout their lines so that the person in the back row can hear everything. This staginess gives a distinctively uncinematic quality, and it’s only made worse by the bizarre curtain call at the end of the film. I suppose the idea was to have the audience leave the theater in an upbeat mood (You see? The evil child was just a cute actress, after all! We can now go back to fearing the commies!)

The worst mistake made by The Bad Seed is the ridiculous Deus ex machina ending, which probably shouldn’t be totally blamed on the film’s creators. Back then, the Hays code wouldn’t let crime pay; as a result, the ending is a complete tonal shift and makes no sense. Of course, the movie isn’t all bad - there is a lot of potential in the material. For example, a discussion could be held about the strength of the mother-daughter bond - take Christine’s conflicting feelings regarding her daughter - it’s hard not to love your own flesh and blood, no matter how evil they are. (Rhoda is Rosemary’s Baby as a preteen.) Something might also be said about the noticeable absence of Rhoda’s dad, who as a military man must spend weeks away from home. So much for the “environment” side of the argument - the rest of the movie clearly sides with heredity.

J’accuse!

Later films like The Exorcist and The Omen would of course give religious origins to the evil-child scenario, but I think a screenplay like The Bad Seed could be remade well (I have heard that The Good Son and the 1985 TV remake wasn’t it). As long as somebody realizes that some works can transfer well from the theater to the movie screen, but other works need tweaking (like toning down the “theatrics”). The few things that work in The Bad Seed are unfortunately lost in the dull stretches.

~Bill G

Screw you! I’m posting spoilers on AICN as soon as I get home!

Superstition (1982)
Director: James W. Roberson
Starring: James Houghton, Albert Salmi, Lynn Carlin, Larry Pennell, Jacquelyn Hyde, Stacy Keach Sr.,

(out of 4)

Ah, the old Head-in-the-Microwave Gag!

WARNING: Some spoilers ahead.

Superstition is a Canadian flick (I think) from 1982, but I would swear it was directed by somebody like Umberto Lenzi or Lamberto Bava. It plays like an alternate universe version of Argento’s Suspiria, if it was directed by somebody like Lucio Fulci. In other words, it’s just plain bad, but gory enough and silly enough to keep one interested. There are no real characters in this movie, just meat for the grinder. Basically, Superstition is a succession of kills strung together to a funny prog soundtrack (by David Gibney, doing his best Goblin impersonation). It’s also partly produced by Kassar and Vajna - how the hell did they get involved in this?

Some of the kills are gory (spinning blade through the torso), some disturbing (spike through a girl’s forehead), some stupid (guy cut in half by a window pane - how the hell does that happen?), some funny (exploding head in microwave) and some downright boring (hanging, body thrown around room). But there certainly are a lot of them.

Works better than Advil

So who’s causing all this commotion? Well it turns out that many years ago, a witch was sentenced to drowning, and in order to keep her in the lake, a special cross was tossed in to make sure she keeps out of trouble. Folks, it didn’t work. The priest who sentenced her to a watery grave gives no good reason why she isn’t just burned. I guess his heart wasn’t in it? As soon as she hits the water the village burns down. Bad sign #1. Soon the poor priest finds himself crushed to death. Bad sign #2. That cross must obviously be defective.

It’s years later, and the witch is still at it - killing anybody who comes near the lake, and the old house in front of it. I think the creators of this movie wanted an Amityville vibe, but there isn’t much time to build up a mood in that regard, with all the slaughtering going on. What we do get is a clueless reverend named David Thompson, a cowardly dad, a few babes, a kid, a priest, a strange old lady and her retarded son, an incompetent detective (played by Albert Salmi, who in real life would later die with his wife in a murder/suicide), and a girl who may or may not be a ghost. The priest is killed early on by a spinning circular saw blade, which flies across the room at him. The fact that it is still spinning under some ghostly power as it burrows through his chest seems to be of no importance to those who witnessed it. Rev. David Thompson says he’s shaken up, but otherwise reacts as if he just witnessed a minor rear end collision. The rest of the running time is filled with people running back and forth in full panic mode, but for some reason failing to run in the one direction that might save them, namely out the front door.

This is not a dream. We are speaking to you from the year one, nine…

Spoiler: everybody dies in this film. Well, why shouldn’t they? They have created a monster (not shown, by the way, except for monster hands with claws) that has pretty much been established as invincible. You gotta wonder about movies like this where Satan can do whatever he wants. Crosses don’t work (well, one cross sort-of-works) ,priests are useless. Hey, God! We could use a little more help down here! After a while, one wonders if they should just drain the pond, bulldoze the place and put up condos or something. Maybe the witch will want to be superintendent.

-Bill G

Bad Day at Sunday School

Children of the Corn (1984)

Director: Fritz Kiersch

Starring: Peter Horton, Linda Hamilton, John Franklin, Courtney Gains, Robby Kiger, Anne Marie McEvoy

1/2   (out of 4)

Too much strawberry ice cream makes me sick.

Children of the Corn was originally a Stephen King short story. I haven’t read it. But if this movie is any indication of what the book is like, I’ll never be reading it. Before the opening credits even roll, we’re treated to voiceover narration by the movie’s main kid hero Jobe (Robby Kiger). “It was about 3 years ago. I was the only kid in church that day…”. Oh Jesus, here we go. Massive exposition voiced by a kid. The strong suit of horror movies (and I think, most Stephen King novels) is in the power of the image, but before we even see anything we have to listen to a boy dumb it down for us.

Not much of any interest happens after the beginning slaughter scene in a diner. We learn that a boy preacher named Isaac (John Franklin) has created a cult based around some demon in the corn fields of Gatlin, Nebraska. His right hand man is an older teen named Malachai (played by Courtney Gains, a good casting decision. Back in 1984 he looked like some Amish kid gone off the deep end). At Isaac’s command, all adults in town are brutally killed. Three years later, nobody outside of Gatlin seems to have given a shit, and the kids are still busy doing their cult thing when yuppie couple Burt (Peter Horton) and Vicky (Linda Hamilton) stumble into town.

Gatlin: City of Ethanol and High Fructose Corn Syrup!

Let’s get the religious symbolism out of the way: Malachi was originally the first of the Biblical minor prophets, meaning “God’s helper/God’s messenger”. It may be helpful to know that the Book of Malachi, the last book in the Hebrew Old Testament, was written in response to corruption of the Israelites, particularly the priests. Armed with this knowledge, we can successfully predict the outcome of the movie Malachi’s relationship with boy-priest Isaac. The Biblical Isaac, of course, is the son of Abraham. You might be tempted to believe that Children of the Corn is taking potshots at Judaism but this seems doubtful in light of Burt’s later comment that any religion not based on love and compassion is a false one. Then again, the Old Testament isn’t exactly a shining example of God’s love, as it involves a lot of blood, death, and sacrifice. It also doesn’t help matters that all the cult members are children. Is that how Stephen King sees religious folk?

Anyway, this is all academic. It’s more fun to talk about this movie than it is to watch it, because the thing is mediocre in just about every sense. There’s no particular imagery of any staying power to take away, except maybe flashes of the Nebraska cornfields, but even that is underutilized. There’s nothing particularly scary, threatening, or suspenseful either. The thing just sort of plods along, with our two heroes driving down lonely highways for what seems like an eternity. The movie occasionally will throw us a bone, like a murder of a gas station attendant, but even that sequence is rather dull and uninspired.

Just lie back and think of Kyle Reese

The characters of Burt and Vicky aren’t exactly the brightest bulbs either. They turn on the car radio and become annoyed at hearing some preacher’s voice, but don’t seem to know that if you turn that little knob thingy you might be able to listen to something else. Burt leaves Vicky alone with little girl psychic Sarah. Guess who ends up kidnapped and tied to a sacrificial cross? Watching Linda Hamilton tied up in the middle of a cornfield gave me a brief flashback to The Wicker Man, but it was only brief. Let’s not kid ourselves.

The ending deals with turning the cornfield into a “lake of fire” to kill the monster/demon thing, but it’s not executed with any particular flair (the word “uninspired” will creep into your head alot during this film). The movie’s budget is too limited to try to show the monster anyway - we just get to see something moving under the field and the occasional explosion or cheesy animation. Even the final “boo” ending is handled with no particular care - when the words “The End” pop up on the screen before our survivors even have the time to drive out of frame, it seems like the creators have been waiting the whole movie to do it. This is probably what happens when people get the bright idea to turn a short story into a 90 minute feature.

We want Menudo!

I have seen worse movies than Children of the Corn, but not many that just seem to be going through the motions. This one left me feeling apathetic. It’s more like a TV movie adaptation than a theatrical film. Quite frankly, how this flick generated 6, count em, 6 sequels is beyond me - I can only assume some cheesy cornfield deity was involved. Nebraska deserves better.

- Bill Gordon