If you went polling audience members for an adjective they’d attach to an abstract concept such as “a mother’s love,” one can only imagine that the most universal reply might be “unconditional.” That would be thanks to the deeply ingrained, cross-cultural assumption that a mother must possess an innate, obstacle-trumping love for her children that can survive any catastrophe or challenge.
The Babadook himself, meanwhile, is essentially the stuff of fairy tales gone wrong, a cloaked and top-hatted, vaguely humanoid presence with a mouth full of razor-sharp teeth. There was something oddly familiar about the image from the get-go, tapping in as it did to some aspect of childhood urban legend long forgotten, even if the monster largely stands in as an outward manifestation of Amelia’s grief and depression.
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