The Hand That Rocks the Cradle (1992)

User Rating:

6.3/10   

Director:

Curtis Hanson

Writer (WGA):

Amanda Silver (written by)

Release Date:

10 January 1992 (USA)

Genre:

Drama | Horror | Thriller

Tagline:

The Bartels couldn't believe how fortunate they were to find Peyton. But they didn't find her, she chose them.

Plot:

Peyton Flanders seemed to be the perfect nanny, but secretly she was out to wreck the lives of the family she was supposed to be helping...

Plot Keywords:

Nanny | Suicide | Miscarriage | Revenge | Baby

Awards:

5 wins & 5 nominations

Cast

Annabella Sciorra	...	Claire Bartel
Rebecca De Mornay	...	Mrs. Mott / Peyton Flanders
Matt McCoy	...	Michael Bartel
Ernie Hudson	...	Solomon
Julianne Moore	...	Marlene Craven
Madeline Zima	...	Emma Bartel
John de Lancie	...	Dr. Victor Mott
Kevin Skousen	...	Marty Craven
Mitchell Laurance	...	Lawyer
Justin Zaremby	...	Roth, the Schoolyard Bully
Eric Melander	...	Joey 'Joe' Bartel
Jennifer Melander	...	Joey 'Joe' Bartel
Ashley Melander	...	Joey 'Joe' Bartel
Cliff Lenz	...	Seattle Today Host
Penny LeGate	...	Seattle Today Host

MPAA:

Rated R for terror, violence, a scene of sexual molestation, and for language.

Runtime:

110 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:16 | Netherlands:16 | Argentina:13 | Australia:M | Chile:14 | Finland:K-16 | France:-12 | Germany:16 | Peru:14 | Singapore:NC-16 | South Korea:18 | Spain:13 | Sweden:15 | UK:15 | USA:R

Filming Locations:

Issaquah, Washington, USA

Company:

Hollywood Pictures

Trivia:

Sir Arthur Sullivan is cited on more occasions throughout the movie. Already mentioned: Peyton humming music of the "Pirates of Penzance" and the music at the title credits is based on the "Pirates of Penzance". But also, Michael and Emma are singing Sullivan's "HMS Pinafore" in the bathroom at the beginning of the movie; the clock radio in the basement plays more music of the "Pirates of Penzance"; in the house, a poster of Sullivan's "HMS Pinafore" can be seen on the wall.

Goofs:

Continuity: The blood on Peyton's face after Claire punches her the first time disappears when she gets up off the floor.

Quotes:

Peyton: My husband was my only family. He's the only one who really understood me... He took care of me. He was murdered.
Claire: Murdered?
Peyton: They never caught who did it. But I firmly believe, what goes around comes around.

Movie Connections:

Referenced in "The Nanny: Smoke Gets in Your Lies (#1.1)" (1993)

Soundtrack:

SEATTLE TODAY THEME

A Film That Rocks the Audience

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.