It was my plan—as if plans ever really work out—to see Annabelle Comes Home on opening weekend. July got away from me but I finally found my way to the theater yesterday. My current book, Nightmares with the Bible, deals with demons in cinema. One of the chapters covers The Conjuring universe, and since this is the sixth film in that diegesis (with one tangentially attached spin-off) watching the movie was as much research as it was fun. While the demon utilizing the doll Annabelle is clearly the main villain, the film, as in most of the franchise, interjects any number of entities. Ed and Lorraine Warren, in real life, kept a museum of occult objects in their house. This room contained items that had figured in their cases—they maintained demons didn’t possess objects, but people—including the doll Annabelle.
The new film maneuvers three girls (Judy, the Warrens’ daughter, her babysitter, and a friend) into the house alone. One of the girls releases Annabelle from her blessed case, and a nighttime of terror ensues. The demon behind Annabelle animates several of the haunted objects, so the girls have to deal with many ghoulish threats. The film knows it is following tropes such as a car breaking down by a cemetery at night, and the idea of a babysitter being attacked by monsters, and at times it gives a slow wink to fans of the genre. Still, there are plenty of genuinely creepy moments and a few jump startles. It also shows the clearly demon in its “true form” at the climax of the film. When it does so, it matches traditional renditions.
Set to become the highest grossing horror series of all time, The Conjuring universe mixes films that claim to be “based on a true story” and others, such as Annabelle Comes Home, that use real settings but without claiming to follow actual events. What I found engaging about this particular movie was the fact that the youngest girl, Judy Warren, was the one who figured out how to re-capture the demon. There are holes in the plot, of course, but featuring a young woman not requiring a man’s help to trap a demon is somewhat unusual in a Catholic diegesis. True, she doesn’t perform an exorcism, but Judy does contain the evil without a priest, or even her father’s direct help. As this diegesis wends its way into American folklore, moments like this are increasingly important. Even though there are demons here, the women don’t require men to do the heavy lifting.