Hypothesis Spits

Removing the innocence from a child is a theme often explored by films in the horror genre because, quite frankly, an evil child is a pretty twisted notion that goes against the grain of everything that most cultures concede: children are sinless, joy-filled beings that can’t replicate or have the capacity for evil because their experiences (or lack of them) can’t possibly allow for an authentically evil act to be perpetrated.

Even horror films like THE EXORICST and THE OMEN validate the monstrosities contained within the children by attributing their losses of innocence to demonic forces which have possessed the children, effectively removing their “God given” child-like qualities.

Films that portray a child who is actually evil are far more infrequent, which was one of the main reasons why I chose to see ORPHAN over my vacation on the Outer Banks.

I still remember the backlash Macaulay Caulkin (and his parents) received for his role in THE GOOD SON, a terrible movie seemingly produced only to capitalize financially on the strikingly “wild” turn from Caulkin, whose overnight celebrity status from his role as Kevin McAllister the cute, and loveable protagonist from HOME ALONE made him a household commodity.

NOTE: I have always found it interesting that Kevin McAllister, in my mind, was WAY more evil and sadistic then Henry Evans, Caulkin’s character from THE GOOD SON.

Go back and watch HOME ALONE—Kevin McAllister was a seriously twisted little fucker.  It would take a few minor edits/addition of some gore for HOME ALONE to resemble a SAW-like torture-porn genre flick. Seriously.

He pretty much tortures the shit out of Joe Pesci and Daniel Stern.  Cartoon-like, yes, but goddamn what an example to set for all the kids out there.  Someone invades your home? Rig that motherfucker with traps and laugh evilly as you burn, break, and shatter the bodies of the invaders. Toss a brick of a building and knock out some teeth, watch through a peep hole as the invader steps on a rusty nail. KILL THEM KEVIN!

If Kevin McAllister and Henry Evans got into a fight, Im pretty sure the result would be Evans mangled and bloody corpse lying on the floor of the McAllister’s mansion in Chicago, his parents standing there, shaking their heads as if to say, “Kevin, go to your room while we clean up this mess.  You have to sleep with Fuller tonight.”

ORPHAN is nothing like any of these films, which is why I enjoyed it so much.  I was looking forward to this film last year; when I read that Peter Sarsgaard had signed on to make this film.  I’m a big fan of his and knowing the careful approach that Sarsgaard takes to choosing his films led me to believe that there was something special about this project.  I was not disappointed.

ORPHAN has already caused a minor disturbance among advocates of orphanages and the services that provide adults with the ability to provide shelter/care for children who have the unfortunate circumstances of being alone in the world.  ORPHAN could care less for charity.  Esther (Isabelle Fuhrman) is evil incarnate and it was thrilling watching her slowly reveal herself as a vile and disturbing force to be reckoned with.

The films pace is flawless.

Jaume Collet-Serra improves greatly from his first directorial effort, 2005’s HOUSE OF WAX, which suffered not from its direction, but from its ridiculously awful script and equally lame cast.

I mean, come on, Paris Hilton or Vera Farmiga? I’m sure Collet-Serra felt relief in ALL stages of ORPHAN’s production because of its strong cast and original script.  Saarsgard and Farmiga’s chemistry on screen was believable and realistic.  This allows the film to take liberties in its third act when it becomes borderline ridiculous, approaching levels of campiness that I did not expect heading into the movie.

What begins as a terrifying and maddening psychological game of cat and mouse between Esther and Kate (Vera Farmiga) eventually blossoms into an entertaining thrill-fest with a resolution that will leave the right crowd cheering  out loud for Kate, who is identified early on as the films protagonist.

ORPHAN plays off of the horrors that every parent subconsciously dreads: losing a child. Even in a still birth, the loss of a child is something that no mother can ever truly get over.  Kate’s deep emotional scars and troubles/struggles with alcoholism serve as personal demons that Kate is perpetually battling from within….until she chooses to adopt a child with her husband John (Peter Sarsgaard).  Pressured into making a change by her therapist and husband, Kate reluctantly agrees to move on from her past by adopting the mysterious but innocent seeming Ester, a Russian orphan with an unknown past that seems like a perfect fit for their upper-class/privileged home in ritzy Connecticut.

Of course, the movie follows conventions from then on: the mysterious journal that Esther keeps hidden (only enough so that Kate will eventually find it though), the mind games that make Kate appear to be crazy to the outside world, the gradual increase in violent acts,  etc.  The film relies on convention until its climax, when the script makes its bold and fairly shocking revelation on Esters origin.

ORPHAN also returns to a very important element of suspense that is too often misused in modern horror: the score.  Music and sound FX play a crucial role in developing the story. Overall, I was highly pleased with the film and was entertained to levels that I haven’t felt in awhile in horror movies that hit the big screen.

The Final Exam

How does the movie compare to other films from the director?

Since Jaume Collet-Serra’s only other contribution to film was his sloppy and uninspired remake of HOUSE OF WAX, I think this film is a tremendous improvement that shows what a good cast and a good script can do for a director. I left out the word “good” in front of director in hopes that he will follow up ORPHAN with a film equally as well made.

Is the movie effective?

Yes, ORPHAN relies on convention and common horror elements for a majority of the film until the third act, when it becomes an all out laugh and scream fest that is extremely entertaining if you don’t take it seriously.

Would I watch the film again?

Yes, I would gladly share this film with someone else or watch it on a rainy day.

Best aspect of the film?

Strong pacing + Strong performances by the child actors

Worst aspect of the film?

The tone shifts frequently, which might turn off the casual viewer

Final grade + viewing suggestion?

86/100 “B“– A must see for horror enthusiasts, for all others there is no need for the theater experience, but I do recommend giving the film a shot.  Its far better then most of the Horror remakes/”Japanese” ghost films that are consistently coming out these days.