A spine-tingling survey of films about strange, evil children
Author/screenwriter Vanessa Morgan lives in Belgium and is best known for her terrifying mysteries - some of which have become movies - but she is also a very sensitive writer about animals, and cats in particular (witness, AVALON: A HEART WARMING TRUE CAT STORY, NEXT TO HER and CLOWDERS). In this book Vanessa once again turns to reportage (as in her very successful WHEN ANIMALS ATTACK and STRANGE BLOOD books on horror movies) as she has assembled essays and facts about very bizarre bad kids movies from around the world, films that date from the past century to the present. She has gathered essays from a cadre of important international writers who make s big impression on the subject of EVIL SEEDS – as in villainous children -movies.
Vanessa spells it out for us, titillating our curiosity and darker imagination: ‘Something’s wrong with the children. They murder their classmates, torture their parents, turn into werewolves, speak in tongues, drink human blood, or practice black magic. The “evil child” is an intriguing niche in both literature and film, often portraying their perceived innocence in sharp contrast to their violent action. What most people consider to be “cute” – their underdeveloped bodies with out-of-proportion heads – can quickly worsen one’s pedophobia (the fear of children) when combined with a demonic or otherworldly demeanor…Our society, by nature, gives children the benefit of the doubt. How can something so innocent be capable of such cruel acts?...’
After delivering a well-researched history of the manner in which films have focused on villainous children – nearly 250 films exploring ghosts, werewolves, possessed children, trolls, changelings, murderous orphans, juvenile serial killers, witches, evil babies – from the last century to the present, Vanessa presents in chronological order films from 1944’s TOMORROW, THE WORLD, through THE BAD SEED (1956), LORD OF THE FLIES (1963), THE OTHER (1972) to SON (2021). Films from many countries fall in line (Korea, Mexico, UK, etc) to cover the complete spectrum of the genre of villainous children, well described by an impressive cast of global writers.
Using this mode of sharing works by informed experts we discover the myriad (and unfamiliar) forms of evil children that cinema has created. Curiosity may be the initial reason for exploring this book, but once the book is opened it becomes a fantastic journey into the strange realm of evil seeds! Highly recommended!