Critics didn’t look favorably atCase 39when it came out in 2009, calling it unoriginal and not very scary. It is easy to see why it was regarded as a letdown, considering it was an American debut by an up-and-coming German director,Christian Alvart, known for his gruesome and provocative first thriller,Antibodies(2005). Even thoughCase 39doesn’t reach the level of Alvart’s spectacular debut,it still offers a solid, somber atmosphere and a few surprisingly captivating sequences(the one with hornets is particularly memorable). However, the film’s true forte was its secretly genius casting, which brought together a young horror prodigy,Jodelle Ferland, a recent Oscar winner,Renée Zellweger, who was widely famous for her rom-com roles at the time, andBradley Cooper, who hadn’t had his big break yet. It might seem like these people shouldn’t mix well in a horror setting — but they do, andthe way the movie treats these respectable actors is pure, macabre delight.
This Child Can Go from Sweet to Evil in a Hot Second
Social worker Emily, played by Zellweger, takes the case of little Lilith (Ferland) and eventually saves the girl from her psychopathic parents who attempt to bake her in the oven one night. Since she and the child already have a connection, and the system is famously overloaded, Lilith is allowed to stay with Emily. Soon, people start dropping dead, and Emilyconsiders there might be something seriously wrong with her protégé. One of the most enjoyable things aboutCase 39is the way it plays around withtwo respected horror canons: stories aboutnaturally creepy kids and ones about creepy kids of supernatural origin. Even though the truth is revealed pretty early on (the girl’s name is kind of a giveaway), the film still successfully utilizes the mechanics of adomestic thrillerfor a while.
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Scary underrated.
This ambiguity offers plenty of opportunities to shine for Jodelle Ferland, who plays the mysteriouslittle girl who might or might not be pure evil. By the time ofCase 39, which was filmed in 2006, Ferland was already an accomplished horror alumnus despite her young age.Terry Gilliam’sTideland,an episode ofMasters of Horror, and soaking under a bloody rain inSilent Hillwere great preparation for the role of Lilith.Ferlandeffortlessly goes from genuine wide-eyed innocence to talking like Hannibal Lecterto grownup men. In one of the most suspenseful and darkly hilarious scenes of the film, she sits across from Bradley Cooper, who’s playing Emily’s friend, a child psychologist, and informs him she considers him “facile”. The other great thing about Ferland’s performance is that sheis capable of being menacing without any lighting tricks or special effects.
Surprising Casting Choices and Grounded Performances Make ‘Case 39’ More Thrilling
The uncertainty around Lilith’s nature alsooffers up some solid material for Renée Zellweger to play with. Introducing someRosemary’s Babymotifsinto the mix, there is a great deal of self-doubt on Emily’s part inCase 39. As seen in many prior films about kids exhibiting troubling behavior, no one wants to believe a child is capable of something evil. So, Zellweger’s heroine spends some time looking inward and trying to justify her paranoia regarding her foster daughter, finding an explanation in her doubts about whether she is ready to be a parent. Similar toRosemary’s Baby,societal expectations also play an important role. Many characters zero in on the fact that Emily doesn’t really have any empirical experience with children, so they’re quick to disregard her suspicions as the mental state of someone who realizes they are unfit to shoulder a major responsibility.
Thisgives Renée Zellweger multiple opportunities to flex her psychological muscles, ranging from displaying paranoid tendencies to feeling angered in the face of blatant dismissal. There is, however, another level to the role that requires a more physical approach, and Zellweger has a lot of fun taking a break from the rom-com parts, with all the gasping, screaming and knife-wielding she gets to do here. There is even a very unexpected and probably unintentional homage toone of the most famous scenes inBridget Jones’s Diary— a frantic run through the street wearing undergarments and not much else.Zellweger’s roots in the horror genre are strong: she had her first leading role inTexas Chainsaw Massacre: The Next Generation, where she jumped from trucks and out the windows, being chased by a crazedMatthew McConaughey.
Bradley Coopermight seem like another unexpected casting choice, since he’d also been doing a lot of rom-com roles at the time, mostly supporting. His brief but memorable outing as a child psychologist who is terrified of one of his little patients, shows his abilities in the genre, coming off simultaneously stoical and vulnerable. Both will come in handy for Cooper when he gets his first leading role inThe Midnight Meat Train, a gnarly horror based onClive Barker’s work. Specifics of the performances aside,the casting choices play into one of the movie’s main topics, which isn’t particularly original, but is still effective.Appearances can be deceiving, as we’re told through different aspects ofCase 39. And even if someone’s suspicious behavior revolves around something seemingly innocent, like wanting a new dress or more ice cream — that doesn’t mean there isn’t evil lurking behind this facade.
