THERE’S a new demon in town, and she’s hiding among the toys.
Annabelle, out in US theatres on Friday, kicks off October’s Halloween offerings at the box office with the original story of a porcelain doll that masks a sinister secret, a spin-off from last year’s Warner Bros horror hit The Conjuring.
The couple move to a new home, but something dark follows them and haunts their baby daughter.
“It was set in the 1970s at a time when movies of the genre were very well respected,” said Wallis.
“I think the element of truth to it, that it stems from real events and whether or not you believe in occult, there are documented things that happened.”
Dolls are usually associated with innocence and playfulness, but have been distorted into dark creatures in numerous horror movies, such as 1987’s Dolls and Chucky the serial killer in 1988’s Child’s Play, which spawned numerous sequels.
In The Conjuring, directed by James Wan, Annabelle is possessed by a twisted supernatural force, and the doll’s porcelain face becomes warped into an evil grin.
“For an inanimate object, (Annabelle) really stood out and when The Conjuring came out, it was validated to us how much people loved her character,” said Wan, a producer on Annabelle.
Classic horror homages are sprinkled through Annabelle, namely Roman Polanski’s 1968 cult horror Rosemary’s Baby, referenced in the couple’s names for actors Mia Farrow and John Cassavetes.
Wallis said she took inspiration from Alfred Hitchcock’s icy blonde leading ladies, while director John Leonetti said he was influenced by Hitchcock’s use of suspense, as well as 1973’s The Exorcist and 1976’s The Omen.
Annabelle, made by Time Warner Inc’s Warner Bros studios for an estimated US$5 million (RM16) million, is expected to earn US$27 million in its opening weekend, just behind the US$31 million debut of thriller Gone Girl, according to Boxoffice.com.
Annabelle belongs to a recent wave of paranormal films that have edged out gory horror offerings and drawn studios back to the genre.
The Paranormal Activity franchise, initially independent productions, has exemplified the success of low-budget horror that scared up big box office sales for its distributor, Viacom-owned, Paramount Pictures.
Comcast Corp’s Universal Pictures tested the waters with August’s As Above So Below and this month’s Ouija.
“Back in the 1970s, all the great horror, scary, suspense movies were made by the studios,” Wan said, adding that he and Leonetti wanted to “hark back to that spirit.”
“We believe that you can make something that’s studio quality film-making, but retain what we love about this particular genre.”