Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.
ABOUT THE AUTHOR: Adam Hursey is a pharmacist specializing in health informatics by day, but his true passion is cinema. His current favorite films are Back to the Future, Stop Making Sense, and In the Mood for Love. He has written articles for Film East and The Physical Media Advocate, primarily examining older films through the lens of contemporary perspectives. He is usually found on Letterboxd, where he mainly writes about horror and exploitation films. You can follow him on Letterboxd or Instagram at ashursey.
Today’s theme: The Sweetest Taboo!
Hold onto your penmanship medals! Nobuhiko Obayashi (Hausu) brings us a version of The Bad Seed, with a child perhaps even more devious than Rhoda Penmark.
I would say that The Bad Seed was a gateway horror film for me, but I was born in the 1970s. The idea of gateway horror had not been invented. Or even considered. One of my earliest memories is watching Carrie on our little television in the trailer we were living in. The pig’s blood dropped and I ran out of the room. Carrie was aired on CBS in 1978. Sure, they made a few edits, but a 3-year-old me would not have been able to notice. The real question is why would my parents let me watch it in the first place?
Sort of the blessing and the curse of being Generation X. I wouldn’t trade it for anything. My mom loved Alfred Hitchcock and she would often tape his films or television show any chance she got, and we would watch it on the weekends (along with a week’s worth of All My Children). But the film I most fondly remember is The Bad Seed. Taped off of WGN, complete with commercials for K-Tel records and Empire carpet (588-23 hundred Empiiiiire), we would watch it all of the time. Oh, how I wish I still had that old VHS tape! The Bad Seed had so many aspects that fascinated me. I was too young to understand the concept of translating a stage play to film. We do not see the evil Rhoda commits. We just hear about it. It might have made the idea of such an evil child more effective. Also, I’m still not sure what excelsior is exactly. But apparently, it is highly flammable.
As much as I love The Bad Seed, it is possible that Obayashi’s version is superior in many ways. He totally cuts out the psychological mumbo jumbo that drags down a significant portion of the original film. Our child killer here, Alice, is just a sociopath from the beginning. Is it possible that the suicide of her father is the root cause? Who cares? It doesn’t matter. We are just here to watch Alice bludgeon her teacher to death in order to get a prized doll.
Obayashi also deviates from the original story by bringing in an aunt as the main protagonist. Ryoko ends up in a mental institution after believing she has caused her boyfriend’s death. I mean, she did wish death upon him as he was walking out the door, only to be struck down by a car. On that same day, Ryoko’s sister Fuyoko is getting married (why Ryoko isn’t there is not explained, other than she is studying music in Vienna). After Alice asks Fuyoko if she can have her veil when she dies, Fuyoko says yes, not expecting to be violently tossed out of a window minutes later. Years pass, and eventually Ryoko is convinced she was not responsible for the death of her boyfriend. Her brother-in-law (I guess—he was only legally married to her sister for mere minutes—talk about early release) asks Ryoko if she would come and be governess to Alice, sweet Alice. She does, but quickly begins to believe that Alice is responsible for the mysterious deaths happening around the family.
We do not approach the insanity that is Hausu of course, but Obayashi does have plenty of tricks up his sleeve. He foreshadows this glass vase so hard that you know something is going to happen with it. But I could have never expected what actually does happen. I thought “there it is”, immediately thinking that it is something that would have easily happened to one of the girls in Hausu.
The Leroy character, the guy who knows the truth but would have difficulty proving it, is even scummier than the guy in The Bad Seed. And Alice does not need to rely on him sleeping on a bed of excelsior to ignite those flames.
All around, a great companion piece to both Hausu and The Bad Seed. I could watch both of those films back-to-back right now. Similar to other remakes of The Bad Seed in the United States, Cute Devil was made for television. I seem to be stacking up MFTV movies this month. A seemingly endless fount of goodness that unfortunately does not seem to exist anymore.
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