For an introduction to the concept of 61 Days of Halloween and list of films previously covered please go here.
The Baby’s Room (2006)
As I mentioned last post, the very least I ask out of a series of horror films is that there be some concerted attempt to push the envelope within the confines of the genre. That’s exactly what this film does. Contrary to another film in this series that I’ll cover at a later date it does take a while to deliver on its connection between the main thrust and the teaser scene, but when it does it really works ingeniously and gives the film a creative avenue through which to explore its themes in both audio and visual ways.
While many of the films in the series, and in my experience with Spanish horror in general, can be a bit deliberately paced; the incidents in this film stack themselves nearly atop one another. The pace is fairly quick which does keep one fairly engaged both emotionally (as you watch the rapid deterioration of a relationship and mental state) and intellectually (as you fight to keep up not only with the twists and turns, but to decipher the rules that govern this cinematic universe).
Also, on the intellectual end of the spectrum there is a paradoxical nature to the film, which to my mind elevates it. Also bumping this film into another echelon are the performances. When there’s much dealing with mental state and personality it’s a pre-requisite for greatness if not passibility and this film does have very few chinks in its armor.
I believe that I may not have been as impressed by The Baby’s Room the first time I saw it, and that may have to do with the results of the narrative because what this film actually does, which too many horror films fail to do, is get me to care about what becomes of the characters within it. In one scene you see the protagonist quite literally pick up a figurine, a piece of a game; when you pick up all the pieces of the puzzle that is this film you get quite a dazzlingly terrifying portrait.