The evening that had begun with such joy and excitement at the birth of their second child turned into a nightmare. “What does my baby look like!? What’s wrong with my baby!?” she screams as nurses wheel her frantically into a recovery room. Immediately following this scene comes It’s Alive’s most famous sequence in which Frank’s wife Lenore ( Sharon Farrell) is the only person left alive in her delivery room, the doctors clawed and bitten to death by her mutant baby, which has escaped. My wife and I did decide to have children but that doesn’t mean that it’s been easy. I’ve had many conversations with friends who have said they feel it’s irresponsible to bring children into such a violent, broken, and dangerous world, and I certainly don’t begrudge them this. They discuss the “overabundance of lead” in foods and the environment, smog, and pesticides that only serve to produce roaches that are “bigger, stronger, and harder to kill.” Frank comments that this is “quite a world to bring a kid into.” This has long been a discussion point among people when trying to decide whether to have kids or not. Ryan) discusses the state of the world with a group of expectant fathers in a hospital waiting room. A prime example of this is Larry Cohen’s 1974 monster-baby movie It’s Alive, which explores the not only the rollercoaster of emotions that any parent experiences when confronted with the difficulties of raising a child, but long-standing questions of who or what is at fault when something goes horribly wrong.Ĭohen begins making his underlying points early in the film as Frank Davis ( John P. What if my child turns out to be a monster? is corrupted by some evil force? or turns out to be the fucking Antichrist? What if I screw them up somehow, or can’t help them, or even go insane and try to kill them? Horror has always been at its best when exploring relatable fears through extreme circumstances.

Rosemary’s Baby (1968), The Exorcist (1973), The Omen (1976), Eraserhead (1977), The Brood (1979), The Shining (1980), Possession (1981), and many others all deal, at least in part, with the fears of becoming or being a parent. And more than any filmmakers that came before-they were terrified. Soon after the New Hollywood generation took over the entertainment industry, they started having children.

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