La Main sur le berceau

Much like "Rear Window", this movie brings up a serious question: Whom can you trust? It all begins one day in Seattle, when Claire Bartel (Annabella Sciorra) goes to her gynecologist. She gets the feeling that he's merely fondling her. After she reports this, several other women say the same thing, prompting the gynecologist to commit suicide. Soon afterward, his widow (Rebecca DeMornay) goes into labor. But the baby dies. Now she has only one thing on her mind: revenge.

That's where the movie gets really creepy. Assuming the name Peyton Flanders, she goes to work as a nanny for the Bartels. In the process, she not begins to act as a mother for the new baby, but she gets into everyone's confidence. And if anyone distrusts her...well, let's just say that she's way ahead of them.

If "The Hand That Rocks the Cradle" makes you suspicious of your friends, then it's probably doing it's job. Director Curtis Hanson brings the same kind of intensity that he brought to "LA Confidential" and "8 Mile". You may never feel the same after watching this movie.

Just the opening scene turns off a lot of people, but that's too because all of the film - all of it - is interesting with Rebecca DeMornay excelling at a vengeful, psychotic killer nanny. This "nanny" does about everything you could do to ruin a family. Yes, she's the nanny from Hell.

I always thought Annabella Sciorra had an interesting face with a knockout smile, at least back in late '80s, early '90s, so I enjoy watching her. Here, she plays a good woman who is married to a good man (Matt McCoy) - wow, there's an oddity in modern films: a happy and faithful husband and wife!

This is an involving film. Once you are into it, you're hooked and the 100-plus minutes go by pretty fast. DeMornay is so effective in her role you just can't wait to see her exposed for who she is and justice done to her.

I did think Sciorra's character would have needed more to go on to come to the right conclusion near the end, but, usually every film has some question marks regarding credibility. The violent, ending scene is very suspenseful and well- done.

You have to hand it to the makers of THE HAND THAT ROCKS THE CRADLE--once the story starts to unravel, you have to stay tuned to find out how this manipulative bitch will get her comeuppance. It's as simple as that. We know from the start that she has evil intentions, but we never know how evil they are until she starts a series of manipulative acts that demonstrate how cunning and remorseless she is.

REBECCA de MORNAY is so convincingly evil that you have to wonder why her career didn't skyrocket after this. It's a performance worthy of award consideration, but both she and the film itself have been largely forgotten. None of the supporting players, with the exception of JULIANNE MOORE, have become household names but they're all quite effective.

The ending may be somewhat predictable--and most welcome when it finally comes--but it's still stylishly done and a satisfying conclusion to a tale of household terror when a nanny's rage goes amok because of an incident in her past involving a woman whom she perceives as ruining her husband's life. Sure, it's been done before, but never quite so cunningly presented.

Long before the acclaim of "L.A. Confidential", director Curtis Hansen offered up this trim, effectively manipulative and suspenseful film. Sciorra is a pregnant woman whose doctor (magnificently slimy de Lancie) molests her during an office visit. The ramifications of her subsequent charges bring about the entrance of De Mornay into her life. De Mornay poses as a nanny and almost immediately wreaks havoc on Sciorra's household, taking charge of it and manipulating the family, all while smiling pleasantly. The story is almost completely implausible and the credibility of the script is stretched further and further as it goes along. However, it matters not because of the sure-handed, inventive direction and the dedicated performance of De Mornay. Taking a cue from Hitchcock, much of the dirty business occurs in daylight among stark white walls and bright outdoor settings. De Mornay insinuates herself into the household and into the minds of the viewer with an unsettling and fascinating malevolence. No one is safe as she meticulously works her dread. Aside from her plots against Sciorra, her shocking behavior includes calling a mentally challenged man a 'retard' and saying the 'F' word to a grade school child. This decidedly un-PC approach is at compelling odds with Sciorra and her yuppie husband who both represent everything annoying and stereotypical about their type and status ('talking' to their kids, 'processing' everything psychologically, et al) They are well off and think they're 'on to' life, yet he's a dim bulb and she overreacts to everything possible. This makes a certain faction of the audience delight in seeing them tormented. Cutting a swath through all the bull is the stunning, fire-breathing, no-nonsense Moore as Sciorra's friend. This is one of the greatest supporting turns of the '90's. She owns every scene she's in, yet ultimately can't beat De Mornay, thus creating a terrific onscreen rivalry right from the start. Moore has never looked this wonderful again, nor essayed this brittle a role, but at least it exists as a monument to her talents at playing a ball-breaking bitch goddess. The excitement leading up to her confrontation with De Mornay is palpable (thanks in part to some great editing.) The male cast is weak. McCoy is often just plain bad and Hudson is embarrassing as a 'slow' handyman. Sciorra does well in a part that does her no favors. The film was a massive (surprise) hit, but she wasn't able to ride it to anything much afterwards. At least De Mornay was briefly lifted to a higher position in the film industry. Moore has fared the best. Zima (in her film debut!) is exceptionally cute as the daughter and does a great job. She later won a role on "The Nanny". The film inspired a raft of imitators featuring killer-sitters, killer-temps, etc... but none found the wide audience that this enjoyed. It's a credit to De Mornay (and Hanson) that despite being petite and feminine, she comes across as chilling and dangerously strong and violent.

The phrase "the hand that rocks the cradle rules the world" is often thought to be a traditional proverb, but it is actually taken from a poem by the otherwise obscure 19th century American poet William Ross Wallace. This film is an example of that sub-genre of the thriller which I have come to think of as the "... from Hell" film. The basic plot of such films is that a stranger comes into the life of the hero. At first this stranger seems affable and friendly, but quickly reveals himself or herself to be a dangerous criminal or psychopath, and the hero finds that he is in danger. This basic concept is an old one, but it was given a new lease of life in the late 1980s and 1990s by the success of "Fatal Attraction" (or "One-Night Stand from Hell"). Other examples include "Pacific Heights" ("Tenant from Hell"), "Single White Female" ("Flatmate from Hell") and "Bad Influence", which can be summarised as "Bloke-You-Meet-In-A-Bar from Hell". Like "The Hand That Rocks the Cradle", this last was directed by Curtis Hanson.

Claire and Michael Bartel are the perfect all-American middle-class couple, living the American dream in an affluent district of Seattle. They already have a young daughter, Emma, and Claire is pregnant with their second child. And then their life is turned upside-down when Claire is sexually molested by her obstetrician, Dr. Mott. She reports him to the authorities, more women come forward to accuse him and he commits suicide to avoid trial. Although this development is clearly upsetting for Claire, she eventually recovers, safely gives birth to a boy and hires a young woman named Peyton Flanders as a nanny.

So was Claire right to accuse Dr Mott? This might seem like an absurd question; the answer, in both legal and moral terms, must be "yes". Had she not done so, he would have been free to continue preying on women. Yet, as T S Eliot wrote in "Murder in the Cathedral", "for every life and every act consequence of good and evil can be shown", and Claire's act, however morally justified, has evil consequences which go beyond Mott's suicide. His wife is pregnant, and the shock of his death causes her to go into premature labour and to lose her baby. She also loses her home because all her husband's assets are frozen to compensate his victims. This woman, of course, turns out to be Peyton, who has infiltrated Claire's home to pursue a scheme of revenge.

The "... from Hell" genre can sometimes descend into absurdity, "Bad Influence" being a particularly poor example, and this film has several weaknesses. Annabella Sciorra is not particularly memorable as Claire and Matt McCoy even less so as Michael. A pre-stardom Julianne Moore, here appearing in a supporting role, is memorable mainly for the bizarre way in which her character dies. Ernie Hudson, in an embarrassing performance as the Bartels' mentally handicapped handyman Solomon, is memorable for all the wrong reasons. He seems to have been written into the film as a sort of virtue signalling by proxy. (Aren't the Bartels wonderful to provide work for such an unfortunate person?) The plot starts off as tense and efficient but tends to go downhill towards the end.

What holds the film together is the central performance from Rebecca De Mornay as Peyton. It is a performance which operates on three levels. The first, and most superficial, level is that of the ideal nanny, someone both friendly and capable, which initially impresses the Bartels so much and persuades them to employ her. The second level is the one that the audience see, that of the cold, implacable avenger.

Underlying these two levels, however, is the third, that of the woman who believes herself to have been wronged but who lacks any social or legal form of redress. For the wrong Claire suffered at the hands of Dr Mott, she has clear legal remedies open to her via the courts and the medical authorities. But Peyton? For the wrongs she has suffered she has no remedy at all, not against Claire, not against her husband or his estate, not against society in general. The only advice anyone could give her would be to accept her misfortunes philosophically, which seems woefully inadequate. If Peyton is vindictive and evil, life has conspired to make her so. This is the central issue at the heart of this film, and it is a measure of De Mornay's performance that she allows us to see it. We might hate what Peyton does to the Bartel family. And yet, at the deepest level, we can understand the motives and the reasons behind her crimes. The complexity of her character lifts this film well above something like "Bad Influence", Hanson's other essay in the genre. 7/10