1988’s “Child’s Play”, directed by Tom Holland.
Starring Catherine Hicks, Chris Sarandon, Alex Vincent,
Dinah Manoff, and Brad Dourif.
What is it about?
Serial killer Charles “Chucky” Lee Ray (a perfectly cast
Brad Dourif) is pursued by Chicago police officer (Chris Sarandon, a real
Humperdick). Cornered and wounded inside of a toy store, Dourif (who knows
Voodoo) recites a ritual that embeds his soul into the body of a popular Good
Guys doll, which results in a store blowout. The next day on his birthday, 6
year old spoiled brat Alex Vincent wants his widowed mother (Catherine Hicks)
to get him a Good Guys doll. After his first round of gifts fails to produce
one, his whining eventually has Hicks meeting up with a peddler to sell her
one. The entitled Vincent bonds with the doll, but he also claims that Chucky
speaks to him, and not just with the catch phrases that accompany the model. Murderous
accidents start to happen, and the family unit has to reconcile about the fact
that their corporate doll is homicidal. Chucky himself realizes that his
transformation has a limited time line, and sets his sights on transferring his
soul into Vincent’s young body. With no one prepared to believe their story, and
no receipt, will Hicks, Vincent, and Sarandon be able to survive the ultimate
sticker shock?
Why is it worth seeing?
“CP” is a deliriously clever and campy concept, generated
for anybody who has ever felt stirrings of pediophobia (fear of dolls).
Lifelike but fake, possessing a realness that could never be considered real, I
know I’ve looked at them in outdated china cabinets and cluttered shelves at
thrift stores and waited for them to awkwardly blink their glass eyes or turn
their lifeless heads at me.
Written at least partially as a satire of the Reagan era’s
greedy lust for selfish material consumption, particularly through obnoxiously pandering
child manipulation, “CP” takes the fear of dolls and creates the perfect pint
sized killer in Chucky. After watching 1984’s “Gremlins”, director and
co-writer Tom Holland saw that animatronics had advanced to a state where he
could create the iconic figure of Chucky. Part of what makes the figure work so
well, is it’s whirring artificiality- while it sounds like Brad Dourif.
Holland creates some great scenes of tension, with him slow
building to the doll character running amok. Part of the fun is how immobile
the character initially is, with him waiting for his moment before striking.
Once Chucky tires of waiting, we get to watch various characters grapple with
the fact that this unbelievable concept is very real, and then knowing that
they’re in a life and death situation while nobody will believe them. This goes
double for the 6 year old Vincent. The film also starts off nice and fast with
it’s chase sequence, and the “Sam-Ram-A-Cam”
inspired POV shots are great.
However, “CP” can only get so much mileage out of it’s
clever concept and satirical edge. There remains a nagging feeling
that it’s hard to believe a rag doll sized chunk of hardened voodoo plastic
would be so formidable as a fighting machine. Even with misdirection, his lurking
underneath furniture, and patiently striking at the right moment, can’t
somebody ward off this toy’s attacks? And watching characters wrestle with this
prop shows why Spielberg went to such great lengths to show as little of the
shark as possible in “Jaws”.
As well, there’s not much to the movie beyond it’s antagonist’s plans. Sarandon at times can be so wooden you wish he was a doll too, and the car scene where Chucky shows up to play whack-a-mole with his testicles makes you wonder if his car came with functional brakes. Finally, while we feel sorry for child actor Vincent’s plight, it’s tough to like him.
As well, there’s not much to the movie beyond it’s antagonist’s plans. Sarandon at times can be so wooden you wish he was a doll too, and the car scene where Chucky shows up to play whack-a-mole with his testicles makes you wonder if his car came with functional brakes. Finally, while we feel sorry for child actor Vincent’s plight, it’s tough to like him.
Reservations aside, “CP”’s success at the box office (making
almost 5X it’s $9 million budget) combined with it’s franchise friendly
confines (the unkillable killer doll), made for a number of sequels. It’s
definitely a campy horror classic worth seeing, but with it’s antagonist’s
sinister plans, you can’t help but wonder: can’t we just bury all of these
things in landfills?
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