The bad seed 1985 ending relationship

CULT MOVIE Blogging: The Bad Seed ()

the bad seed 1985 ending relationship

Fun fact: There was another TV remake in featuring Lynn Redgrave as The original Broadway production of THE BAD SEED opened on December that the main character was gay because of his relationship to his mother. . The ending is inspired by the psychological theory of the time that some. The Bad Seed is a American made-for-television horror film directed by Paul Wendkos for ABC Television. It is based on the novel by William March. The Bad Seed is a thriller novel by William March, published in It was made into a stage play, which was then adapted into a film in , and a made- for-TV remake in In the book he actually compares his relationship with her to an odd Downer Ending: Not just a downer - it's basically as bad as it gets .

Why bother to partially update the story instead of making a movie based on the original and using more "modern" and original ideas? Was this review helpful?

The Bad Seed -- Secret {The Pierces}

Sign in to vote. Somewhat disappointing sbarr10 26 September Keith Carradine as the gardener was superb. So was Eve Smith as Mrs. Post, the head of Rachel's school. Unfortunately the performances of Blair Brown as Christine Penmark and Carol Lacatell as Rita Daigler seemed lacking in dimension when compared to the dynamic performances of Nancy Kelly and Eileen Heckart in the original. Even worse, Carrie Well's delivery struck me as very flat when compared to Patty McCormack's in the original.

The Bad Actress Poseidon-3 24 December In a disturbing trend that continues to this day, a classic film was remade into a distorted and less-involving TV version.

the bad seed 1985 ending relationship

Memorable, sometimes legendary films like "Whatever Happened to Baby Jane? Here is a potentially strong remake that goes awry mainly do to casting, but also due to script revisions that drain a lot of the emotion out of the story. For unknown reasons, the father has been eliminated from the story and a key role which won Eileen Heckart and Oscar nod in the original is shaved down and treated as a throwaway.

The story concerns Brown in a solid enough performance whose preteen daughter Wells is increasingly suspected of wrongdoings at school and around her home. Wells is adored by her grandfather Kiley and neighbor Redgrave and loathed by the booze-soaked handyman Carradine.

The Bad Seed- Revival? (Message Board)

Soon, Brown starts to believe that she herself is indirectly responsible for some of the acts that have been perpetrated. The biggest problem with this movie is Wells. And we don't often leave the apartment interior for the great outdoors, giving the film the feeling of a stage-bound production. Finally, we even get a bizarre, reality-shattering curtain-call at the end of the film to introduce the cast and even make light of the preceding horrors.

But like Shakespeare's MacBeth and the murder of King Duncan, notice how much of the important action of the film takes place off-camera. We never actually see Rhoda committing murder, and that's a crucial distinction. The film is much more concerned with how Rhoda covers up, how she appears normal, than with the abnormal and anti-social acts she commits.

What's more frightening, you may ask, than a child committing murder? How about the sight of a cute-as-a-button little girl making excuses, manipulating her parents, and having no sense of morality other than the fact that she wants what she wants? At one point, she coldly tells her Mother that she doesn't feel "any way at all" about the death of little Claude, and how it must make Mrs.

That's more terrifying than a girl pushing a boy into the water. Rhoda believes all along that she is "right," "justified" and "entitled" to do what is best for her, and it's all the more frightening, because the camera focuses on her dissembling and lying more than it visits the exact nature of her crimes. We are confronted with the idea that there exist human beings unable to feel remorse, pity, empathy - anything we remotely recognize as "moral" - and that they're out there; and that they sometimes hide undetected behind pig-tails and smiles.

The movie would have gotten lost in psycho-killer cliches had it actually visualized Rhoda committing her "kills. It's an advantage, not a detriment. There's a palpable sense of claustrophobia to the film and increasing hysteria, too Her husband is MIA most of the film, and let's face it, in s Leave it to Beaver America our heroine has few options, and so therefore we stay and we stay and we stay in that damned apartment and our sense of discomfort grows exponentially.

Had the film been opened up more, been made more conventionally cinematic, I feel the viewer would have lost the sense of Christine's entrapment with this monster. As it stands, we're right there in that apartment beside her. It would be much harder for us to accept Chrstine going mad at Rhoda's endless repetition of Claire de Lune on the piano if we could easily escape it for a corner cafe, a grocery store, a police station, a school, a church or the like.

The other critical slam against The Bad Seed involves the ending. Don't read any further if you want to be surprised. Here's the deal, the movie changed the play's original ending. In the movie, Rhoda goes to the pier where she killed Claude and tries to fish out her penmanship medal from the water where her Mom dumped it. A storm has rolled in, and Rhoda is carrying a big metal net on a stick. Well, she's struck by lightning and that's the end of the Bad Seed.

In the book and the play, things were different. Little Rhoda got away with her crimes, and society was unable to recognize her for what she clearly was, a monster. But, in America inwe had the "The Motion Picture Production Code" to contend with and it stated something along the lines of "crime shall never be presented in such a way to throw sympathy with the criminal against law and order.

Rhoda couldn't escape some form of justice.

Rob Lowe’s Bad Seed fails to sprout

So the ending of the film had to be altered. Critics complained because they saw the new ending a lightning strike against Rhoda as divine intervention, a Deus ex Machina answer. Well, I beg to differ with that assessment. I would argue that the new ending of the film works rather well, and furthermore, that director Le Roy builds it into the film with a sense of grace.

the bad seed 1985 ending relationship

For example, the film opens with a shot of the pier where the murder of Claude and ultimately, Rhoda's death Off in the horizon, hanging low in the black-and-white sky, we see thunder clouds gathering, and even lightning flares. So we are reminded of "nature" first off in the film, rendering the climax not something out of the blue, but rather a book end: Then, handyman Leroy taunts little Rhoda later in the film. He says that dying in the electric chair is like being "hit by lightning," again foreshadowing Rhoda's particular fate.

So when the lightning finally strikes Rhoda, it has been adequately set-up. It's consistent with the opening shot of a storm, and Leroy's foreshadowing.

The Bad Seed- Revival?

Also, I would say that any critical analysis of the film must consider that the core conflict of the film is what I discussed above: Rhoda is a "bad seed," a bad person by nature by her heritage; since her real, biological mother was a murderer In the end, it is only correct then that Mother Nature i. This is not divine intervention, this is not God.

This is Nature destroying that which is corrupt, that which is wrong.

  • User Reviews

It is nature taking care of its own. Lasting a mesmerizing minutes, The Bad Seed should be at the top of every horror fan's list of "must see" films. It is a product of its time in that there is very little on-screen violence.

It's also a pioneer in the way that it plumbs the depths and breadth of human psychology. In addition to presenting the nature vs.

You'll definitely catch a case of the chills from Rhoda's constant refrain, "What would you give me for a basket of kisses?