Tara Maldita

as the mother of the drowned boy.... a performance that must rank with the best of the 1950s. Heckart repeated her stage role in the 1956 film with Nancy Kelly and Patty McCormack as the mother and daughter. Henry Jones (also in the stage production and excellent), Evelyn Varden, Gage Clarke, Paul Fix, Joan Croyden and Jesse White are good in support. Jones and Varden are especially good. William Hopper is and always was BLAH. But Eileen Heckart is superb as the drunken, crushed woman who knows there is something more to her son's death than she is being told. Her two scenes are riveting as she lurches across the room, begging for information, yet totally in control of the situation. Kelly, McCormack, Jones, and Varden are also good (if stagy) in their roles. Kelly seems hopelessly hammy but grows on you even though she seems to be imitating Gloria Swanson in Sunset Boulevard most of the time. Great film, literate, interesting, riveting..... a must!

With some familiar elements of classic thrillers plus some creative turns, this is an unusual and effective thriller. Patty McCormack is memorable as young Rhoda, and the rest of the cast succeed in making their characters react believably to some nearly unbelievable situations. The story moves slowly enough to build suspense carefully, while still holding your interest the whole time.

For this kind of story to work, it has to keep the tension and uncertainty without becoming obviously implausible or annoyingly overplayed. In "The Bad Seed", we see the tension and fear that build in the characters as the story develops, but events also unfold within an atmosphere that otherwise would be peaceful and normal, making for an interesting contrast that helps to maintain a good balance.

Unlike the many banal movies made in recent years about serial killers and the like, "The Bad Seed" also contains some substance. The characters, especially the mother (played by Nancy Kelly), not only have to make difficult decisions, but also must fearfully attempt to understand the reasons for everything. It's a good example of how well a thriller can work when carefully made without a lot of extraneous elements, and it's a demonstration that a movie can have a tense, dark story without being shallow or superficial at the same time.

"Now there's a little ray of sunshine, that one."

An occasionally riveting movie from the 50's about a sunny, charming, sociopathic little girl and her mother's desperate attempts to protect her and hide her nature. The Bad Seed sometimes makes the mistake of focusing too much on the dull adults, but overall, it's a solid movie. Good acting all around, and unlike similar modern movies like Orphan, The Bad Seed gets better as it goes along instead of imploding into an absurd mess. It feels a lot like a play, which is natural due to its evolution from novel to stage-play to film. 

I thought The Bad Seed was a sinister (and relatively timeless) gem of the 50's, and I'm sure it was quite controversial in its time. The ending was changed because of the Hays Code, in fact, and feels a bit like a cop-out as a result, but not to the extent of ruining what came before. Check it out if you're interested.

I consider this to be more of a psychological drama than a horror movie. Eight-year-old Rhoda has no remorse or feeling for the crimes she has committed, saying that it was "their faults". McCormack is a wonderful actress who could past her age in any movie. Overall, this is my favorite movie of all time and I recommend it to anyone who likes suspense with psychology.

Minor 1950's classic that holds up well fifty year later. The film does have its flaws. Occasionally it has the feel of a staged play--at times it seems Mrs. Penmark has to answer the door every five minutes so as to get the other major characters on screen. The Freudian psychobabble and the altered ending add an unnecessary half hour or so to the running time. And the acting can be very overwrought (although the scene in which Mrs. Penmark is screaming in the apartment as Leroy screams outside--both counterpointed by Rhoda's untalented but very loud rendition of "Au Clair de la Lune"--is a moment of high camp horror on par with anything in "Whatever Happened to Baby Jane?") Still the movie works, largely because of Rhoda, the eerily self controlled little murderess who despite her sweet smiles always looks at though her hair is braided a bit too tight. It helps that an actress was cast who was cute enough, but not too pretty--Patty McCormack looks like a miniature gargoyle when she drops the sunny mask and starts roaring. Leroy, the leering simple minded caretaker is almost as unsettling--the scenes in which he sadistically taunts Rhoda almost amount to a very twisted flirtation, as he is clearly more delighted than appalled by her capacity for evil (at least until he learns just how far this capacity goes).

I haven't seen the 1980's remake, but I can't see how it could top the original, if only because evil little girls in jeans and T-shirts just aren't as scary as evil little girls with hair bows and starched frocks.