A film can be more interesting now then during its premiere, often due to circumstances that only later come to light or were completely unknown to its makers. One such example is The Hand That Rocks the Cradle, 1991 thriller directed by Curtis Hanson, which was, even in its original context, very good example of the genre.
The plot is set in Seattle when Claire Bartel (played by Annabella Sciorra), suburban housewife pregnant with her second child, goes to new obstetrician Dr. Victor Mott (played by John De Lancie) for a check-up. Mott acts inappropriately and what was supposed to be routine procedure turns into something that Claire interprets as sexual molestation. She decides to report him which leads to few more women coming forward and disgraced doctor commits suicide. As a result, Mott’s widow (played by Rebecca De Mornay) loses a baby, ability to have children and husband’s material assets. With nothing else to live for, she decides to take revenge against woman who finds responsible. Few months later she takes assumed identity of “Peyton Flanders” and gets hired by Claire as nanny for her newborn son. Peyton quickly wins hearts and minds of not only Claire, but her husband Michael (played by Matt McCoy) and 5-year old daughter Emma (played by Madeline Zima). That allows her to start with subtle but devastating psychological manipulations that would turn family members against Claire and make her question her sanity. Peyton’s ultimate aim is to become surrogate, than the only mother for Claire’s young son and in order to achieve it, she wouldn’t hesitate to use violence and even murder.
When it was released, The Hand That Rocks the Cradle was seen by the critics as just another of formulaic Hollywood thrillers that were popular at the time and featured seemingly innocuous and harmless individuals who were actually dangerous psychopaths bent on destroying idyllic middle class families. Script by Amanda Silver doesn’t stray that much from the formula, but direction of Curtis Hanson, film maker known as one of the most perceptive disciples of Hitchcock at the time, is very effective in creating suspense. Hanson is also putting locations of Seattle, city of grunge and high tech industries that was becoming “cool” in 1990s, to good use and that includes house that plays large role in the final stages of the plots. But the greatest asset of the film is in the superb cast. Rebecca De Mornay is extremely effective as villainess in what can be often seen as the best role of her career. She is both phyiscally attractive, manipulative, intelligent and the audience can even find sympathy for her motives, especially when Peyton is compared with Claire, woman who allows her family to be threatened because of her refusal to actually take care of her new baby and utter stupidity in taking a nanny into her home without checking her proper references. Annabella Sciorra is very good in her role and, despite various flaws manages to bring sympathy to her character, especially at the end when Peyton shows her true colours and transforms from clever manipulator into unhinged homicidal lunatic. Matt McCoy is also effective in rather thankless role of her Claire’s weak and easily manipulated husband, but the real discovery is Julianne Moore who shines in relatively small role of Claire’s best friend who becomes key in discovering Peyton’s true identity. The Hand that Rocks the Cradle sticks to 1990s formula of “political correctness” by having character of Solomon, mentally handicapped African American handyman (well played by Ernie Hudson) as film’s moral anchor and someone that actually saves the day at the end.
The Hand that Rocks the Cradle was quite successful at the box office, while it didn’t create much enthusiasm among critics. Some have attacked it as allegedly anti-feminist for the simple (and for many unforgivable) sin of having a female villain. On the other hand, the strongest and most intelligent characters in this film are women. And the plot is put in motion by sexual harassment, subject which is something feminists liked to talk as much as in three decades ago as they talk now. Film is even more effective in reminding audience of those topic due to Annabella Sciorra having to endure in real life, thanks to Harvey Weinstein, what her character had to endure on screen. Sciorra, apparently due to her refusal to accept Weinstein’s antics, had her career more or less suppressed in late 1990s Hollywood. Those who would like to address that injustice might at least watch The Hand that Rocks the Cradle and see good actress at work.
RATING: 7/10 (+++)
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