‘The Hand That Rocks the Cradle’ – Revisiting the ’90s Thriller Ahead of the Remake

I have a vivid memory of watching The Hand That Rocks the Cradle when I was no more than six or seven. I recall being absolutely enthralled—not necessarily by the story, but the imagery reeled me in. It left an indelible mark on my brain; that’s probably why I’m drawn to psychological thrillers so much.

Thirty-plus years later, I revisited the 1992 film ahead of the remake (coming to Hulu on October 22 and starring Mary Elizabeth Winstead and Maika Monroe) to see if it still holds up in the modern era. What struck me the most were the performances, led by Annabella Sciorra (as the too-nice-for-her-own-good housewife Claire Bartel) and Rebecca De Mornay (as the diabolical Peyton Flanders). Both commit so entirely to the material, particularly De Mornay, in a deliciously unhinged turn, that you begin to believe that what they’re saying is real. And their dynamic together oozes with insidious tension; it’s bubbling just below the surface, and while Claire remains totally oblivious, Peyont twists the knife oh so delicately.

 

The world screenwriter Amanda Silver (Jurassic World, Rise of the Planet of the Apes, Avatar: The Way of Water) crafted dives deep into the complexities of human nature, the rawness of death and grief, and the intricacies of revenge. Peyton, undercover as Mrs. Mott, the wife of serial abuser Dr. Victor Mott (John de Lancie), who kills himself under the weight of his crimes, runs into Claire on the street and claims she’s a nanny looking for work. Almost immediately, Peyton stabs her hooks into the family. During the interview process, she “finds” an earring in the baby’s crib, demonstrating that she’s desperately needed for the job and perhaps more attentive than Claire.