To kill a child ...
| Movie | |
|---|---|
| German title | To kill a child ... |
| Original title | ¿Quién puede matar a un niño? |
| Country of production | Spain |
| original language | English , Spanish |
| Publishing year | 1976 |
| length | 100 minutes |
| Age rating | FSK 18 |
| Rod | |
| Director | Narciso Ibáñez Serrador |
| script | Narciso Ibáñez Serrador |
| production | Manuel Salvador |
| music | Waldo de los Ríos |
| camera | José Luis Alcaine |
| cut |
Antonio Ramírez de Loaysa Juan Serra |
| occupation | |
| |
To kill a child… (Original title: ¿Quién puede matar a un niño?, In the sense: “Who can kill a child?”) Is a Spanish horror film that was released in 1976 as the second feature film by the Spanish- Uruguayan television producer Narciso Ibáñez Serrador ( 1935–2019) was created. The idea is based on the concept of the novel El juego de los niños (“The Children's Game”) by the Asturian author Juan José Plans (1943–2014), which was published in the same year . The film is one of the most famous horror films in Spanish cinema.
Movie title
English-language versions of the film were marketed under titles such as The Killer's Playground , Trapped or Island of the Damned before the film was released as Who Can Kill a Child? has been published. A misleading version in German was published under the misleading title Deadly Orders from Space (cinema), later Scream (video). The unabridged German-language version has only been on the market as a DVD on DVD since 2008, with the title A child to kill ... which is closer to the original title .
action
Opening credits
The film begins with a black and white prologue of almost seven and a half minutes , in which photos and film recordings of various human catastrophes of the 20th century are shown ( Holocaust , Indo-Pakistani Civil War , Korean War , Vietnam War , Biafra War ) , backed up with original audio reports in Spanish . The tenor of all reports is the suffering of the children who fell innocently victims of these events and who, according to the commentators, always suffer the worst from the madness of the wars. The opening credits, which are interrupted by credit fade-ins between the individual episodes, merge directly into the opening scene of the film on the beach, which initially shows a child playing with sand in black and white and then gradually changes to the long shot and at the same time in color .
The prologue and film are linked by the signature melody hummed by a child's voice from off (composed by Waldo de los Ríos ) , usually followed by a child's giggle, which is heard in the critical moments of the film and played in the opening credits at the very beginning and during the credit fade-ins becomes.
Film plot
The film action begins on a Mediterranean beach in the Spanish Levant , where many bathers hang out on a warm early summer's day. A five-year-old child discovers a woman's corpse washed up in the middle of the bathing activity. Doctors find that the woman was brutally murdered, the perpetrator must be a madman.
The English-speaking tourist couple Tom and Evelyn arrive by bus in the (fictional) seaside resort of Benavís on the Costa Dorada southwest of Tarragona , where they unexpectedly get caught up in the festivities of the local Fallas . The local hotels are all fully booked, but a porter arranges a room for them in private accommodation. The couple only want to stay one night to drive the next day to the nearby (fictional) island of Almanzora, which Tom, a biology teacher by profession, knows from before. Evelyn, who is pregnant with her third child, is initially enthusiastic about the hype, but then looks forward to the tranquility on the island as described by Tom. When buying a color negative film in a photo shop, they happened to see a program on black and white television with news from the civil war in Thailand , which reported on over 30,000 injured and orphaned children after the (fictitious) occupation of Bangkok by insurgents. Evelyn has a short conversation with the seller, which, like in the opening credits of the film, is about the suffering of innocent children. While walking through Benavís, the couple get caught in a casserole on the beach that they cannot classify. The viewer learns from newspaper reports that another corpse has washed up.
The next morning Tom and Evelyn rent a motorboat with which they start the four-hour crossing to the island. When you arrive on Almanzora, your boat is greeted by some children swimming in the harbor basin. A black-haired boy, whom Tom meets more often later, is fishing. When Tom's offer to talk, he reacts brusquely and negatively. Tom and Evelyn are initially taken with the tranquility of the island town, which contrasts with the hustle and bustle on the mainland. It seems strange, however, that nobody is to be seen in the alleys and squares and that all shops, houses and places to stop off seem deserted and recently abandoned. While Evelyn is resting in the empty bar in the village's Plaza Mayor , Tom explores the place. A girl of about 12, Lourdes, enters the bar and puts her ear to Evelyn's pregnant belly. Then, despite Evelyn's attempt to talk to her and receive information, she just runs away. The phone rings in the bar, but when Evelyn picks it up, nobody answers. After Tom's return, the phone rings again and a woman in a hushed voice asks for help in German , but Tom cannot understand her.
Tom and Evelyn find the only guesthouse in town where they want to rent a room, but here too everything is deserted. While Tom is exploring the upper floor, Evelyn sees an elderly man with a walking stick walking by on the street, who sits down in a doorway some distance away. When Tom comes back, they see a girl who has followed the man. They watch in shock as the child snatches the stick from the man and hits him with it. Tom runs up and wrests the stick from the child, but finds out that it has killed the old man. The girl runs away giggling. Tom brings the man's body into a barn and wants to smoke a cigarette outside. Being made aware of noises inside the barn, he sees a group of children through the ajar barn door who have hung the man's corpse on the roof beam and are playing child's play with it by smashing the dead man's head with a sickle.
Tom tries to hide the terrible discoveries from his pregnant wife. He explores the pension again and finds two corpses covered in blood in a room. He hears noises in the attic. A man, apparently the owner of the pension, comes down the stairs and meets Evelyn. After a moment of shock, the three adults start a conversation in the inner courtyard of the guesthouse and the man says that he had watched from the window how his wife was killed in the street by a pack of children who went from house to house and killed adults. He did not bring himself to use his rifle: "Killing a child - who can do that?" He then hid in the attic.
The pension's telephone rings, and the German woman speaks soft calls for help into the receiver. With the help of the islander, they combine that the unknown woman is probably locked in the switchboard in the center of the village. Tom runs over there, but finds the office devastated. In the neighboring church of the village he finds the corpse of the Germans, who are being undressed by a group of children. The children run away as soon as they see Tom.
Tom returns to the pension and wants to flee the island with Evelyn and the man. Suddenly a crying girl enters the courtyard, the man's daughter. She pleads with her father to accompany her to her grandmother's house, who is not doing well. Although Tom warns him, the man lets himself be persuaded and accompanies his daughter. After they have turned the corner, you can hear a horde of children attack the man and kill him.
Tom and Evelyn decide to flee and run towards the harbor. As they cross the plaza, they face the children. They manage to escape in a driverless jeep. They drive to the other side of the island where they find a fisherman's house where children play. A woman offers them a glass of water and some refreshment. Meanwhile, the children of the fisher's wife meet children from the island's capital in front of the house. The children look each other deeply in the eye and then behave hostile towards all adults.
Because no boat can be found, Tom and Evelyn drive the jeep back to the main town. In the square they almost race into the group of children, but Evelyn turns the wheel at the last moment. You have to get out of the car and hide in the police station, where Tom takes a submachine gun. The children besiege the door of the cell where Tom and Evelyn have locked themselves. From the outside through the barred window hole a little boy tries to shoot Evelyn with the pistol of a dead policeman. Tom shoots the child with his gun. The children then seem to let go of them and withdraw. Tom hopes they are intimidated by the boy's death. But shortly afterwards the baby begins to kick and kick painfully in Evelyn's stomach. Evelyn remembers meeting Lourdes in the bar and knows that her expectant child will kill her. She bleeds to death from her internal injuries during the night without Tom being able to help her.
Tom confronts the children in the village square in the morning and shoots several of them with his submachine gun. Then he throws the gun away and runs to the harbor to clear the motorboat. He is pursued and the children penetrate him on the boat, he defends himself with the oar and injures numerous children in the head or throws them into the water. At this moment a coast guard boat with three men on board approaches from the sea. Tom tries to make it clear to the crew through gestures and shouts that the children want to kill him, but the officers think he is a madman who attacks children. When he does not stop the fight, the commander of the boat kills Tom with a final rescue shot . On land, the guards do not realize that the danger comes from the children who care for the injured and pose harmlessly. The men run into the village to look for adult islanders. Children board the coast guard boat, grab the men's weapons and attack them. The boat commander is shot with his own rifle.
A group of children get on Tom's motorboat and want to take it to the mainland. They say goodbye to those who stay behind and are sure that the children on the mainland will also take part in their “game”. The film ends with a happy farewell scene at the island harbor, where the children who remain behind wave at the boat and many of them swim and romp in the harbor basin.
Changes in the German version
In the originally listed German cinema version and in the first video version of the film from 1976, the production was "converted" into a science fiction film with a few, albeit momentous, interventions . For this purpose, the entire opening credits (447 seconds) and the final scene with the farewell at the harbor were cut away and the plot moved to the year 2000 with an insert at the beginning of the film. The references to the Holocaust were left out, as was the Vietnam War, at the time of which the film is set in the original version. With the elimination of the prologue and the final dialogue, the children's motivation to take revenge for the injustice suffered by children around the world is hardly recognizable; in connection with the cinema title Tödliche towards from space , which suggests an involvement of extraterrestrials , which is otherwise not a topic in the film , it is completely obscured. The editors Horst Sommer and Klaus D. Pätzold were responsible for the changed German version .
Differences from the novel
Although the script and novel were worked out independently, the film largely corresponds to the novel by Plans. The differences mainly concern the narrative implementation: The main characters in the book are Malco and Nona, the man is a writer by profession and the name of the island is "Ta". The seaside resort on the mainland has no name in the book. Some characters from the book are missing from the film, along with their associated episodes. In the course of the novel, the writer Malco increasingly takes on the role of the fictional character Pilgrin, who he invented, who describes the cruel experiences of the couple in very childlike and sometimes puzzling formulations. This stylistic device is missing in the film.
In the book, with the repeated statement that nature takes revenge for everything that man has done to her, an explanation for the events is given similar to that in the film. This begins with real images of children who have been victims of war and hunger, and suggests that the children on the island could take revenge for this in their own way. However, the desire to murder adults in the film is transmitted from child to child through eye contact, a kind of hypnosis, while the book explains the spread through “yellow pollen rain”.
The book mentions several times that the children are executors of a higher plan, but the interpretation remains open. This aspect, which is missing in the original film version, was tried to bring in the German version with the title Deadly Orders from Space .
background
prehistory
The screenwriter , actor and director Narciso Ibáñez Serrador, who was born in Uruguay as the son of a Spanish-Argentine actor couple , who is known as "Chicho" in Spain and who wrote his scripts under the pseudonym Luis Peñafiel , was already a popular figure in the Spanish media landscape. In 1972 he created the game show Un, dos, tres… responda otra vez , which was successful for more than two decades for Spanish television and which was considered revolutionary and exported to many countries (introduced in Germany in 1984 by Rudi Carrell as Die verflixte 7 ).
Ibáñez, who suffered from hemorrhagic purpura as a child and could not leave the house, had been writing screenplays since he was 17 and had already made a name for himself as a horror film writer by the age of 23. His screenplay for El último reloj , an adaptation of Edgar Allan Poe's short story The Treasonous Heart , won a Golden Nymph at the Monte-Carlo Festival in 1966 . As a movie director, »Chicho« was known for his 1969 box office hit La residencia (German: Das Versteck ) starring Lilli Palmer , who played in a girls' boarding school at the end of the 19th century , where schoolgirls disappeared in a mysterious way. This film resulted in several exploits in the following years .
Juan José Plans, who, like Ibáñez in Madrid, worked for Spanish television and was known for his scary stories , came to him with the novel concept and initially thought of implementing the material as a television film . Ibáñez recognized the suitability of the original for the cinema and made the script into his second (and last) feature film. In an interview he confirmed that the novel was only written after the script and that he had only adapted the idea of Plans without knowing the finished novel.
“A mí plans me contó la idea, y con eso me bastó para escribir el guión. Con esto no quiero restarle méritos al original de plans, pero hay muchas diferencias. "
“Plans told me about the idea, and that was enough to write the script. I don't mean to diminish the merits of Plans' original, but there are many differences. "
production
Filming for the film began in Sitges near Barcelona in September 1975 , then moved on to Menorca and then continued for the longest time near Madrid. They were completed in the same year. The film premiered on April 21, 1976 at the Proyecciones cinema in Madrid.
A curiosity of the film plot is that, unlike most films of the horror genre, it is largely set in broad daylight in the open air, which made special demands on the dramaturgy and camera work. In this respect, the film is close to classics such as Blood Court in Texas by Tobe Hooper (1974), Duel by Steven Spielberg (1971) or The Birds by Alfred Hitchcock (1963), the latter also becoming an influential role model in the plot.
Ibáñez originally wanted to cast the role of Tom with Anthony Hopkins , who canceled due to other commitments. Ibáñez wasn't too enthusiastic about Lewis' interpretation while he was pleased with Prunella Ransome's performance .
languages
A special feature was that both main actors spoke no or only very little Spanish , which helped the authenticity of their role as foreign tourists. The film was shot in two languages, the two protagonists spoke English , the other actors Spanish. Ibáñez wanted to show the film that way and have the English passages translated for the audience using subtitles . The production company strictly rejected this because it was considered unmarketable at the time. The film was then distributed in two versions: one in English, in which the main Spanish parts are dubbed in English, and one in Spanish for domestic cinema, in which the protagonists speak Spanish. Ibáñez was not at all satisfied with the result, especially with the Spanish version. Only in the role of Marisa Porcel, who speaks German in the film and is not understood, was the multilingualism he intended, which was supposed to express foreignness and incomprehension, recognizable for the audience in the film.
Locations
Although the film is set on an island, most of the scenes in Almanzora were shot in Ciruelos near Madrid in the Toledo province , hundreds of kilometers from the sea. The screaming of the seagulls and the sound of the sea were added to the post-production . Other locations for the film were Almuñécar ( province of Granada ), the Balearic island of Menorca and Sitges ( province of Barcelona ). Director of photography José Luis Alcaine told El País in 2004 that it was difficult to compensate for the different lighting conditions at the various locations, which were caused by the drier inland air and the more humid and humid climate in the Mediterranean, so that the viewer did not notice them.
children
More than 300 children took part in the shooting, whom Narciso "Chicho" Ibáñez himself recruited and who chose the protagonists from among them. To this end, he had attended several schools, as he told La Vanguardia in April 1976 . None of the children had any cinema or film experience, except for the Chilean Marian Salgado Rivas , who had already starred in two horror films in 1975: alongside El extraño amor de los vampiros (German: Power of Blood ) by León Klimovsky , where she appears in a supporting role , she had embodied in La Endemoniada (German: The Exorcist and the Child Witch ), Amando de Ossorio's exploit by William Friedkins The Exorcist (1973), in the lead role alongside Lone Fleming an obsessed girl. In Ibáñez's film she plays the girl who kills an old man with his walking stick and is confronted by Tom.
"Chicho" got on well with the children and made sure that they did not see any cruel pictures. The scene in which the children play with the old man's corpse was filmed in two parts: first the children's play without the corpse, then the bloody body was filmed. The only sequence in which the child actors took part directly in the bloodthirsty event and this was filmed in one take was the fight scene at the end of the film. Here an attempt was made to set up the shooting in such a way that the participants experienced it like a wild game, as the cameraman described in 2004. The oarpole that Lewis Fiander used was made of lightweight wood and was hollow. It broke after every blow, so it had to be replaced constantly.
When asked about the curious situation of making a film with children that is only approved for viewers aged 18 and over, Ibáñez said on Spanish television in 2016 that the child actors did not know the plot and at the time did not understand what the plot was about.
music
The film music for ¿Quién puede matar a un niño? Often described as particularly successful and horrible . by Waldo de los Ríos, who had already set Chicho's first film to music in 1969, is characterized by the recurring variation of the signature melody, the use of children's choirs at the beginning, in the middle and at the end of the film and a variety of instrumental components that seem baroque, including organ , Moog and other analog synthesizers , harp , timbales , clavichord , wind instruments, etc. a. The tape rarely has the character of regular music accompanying the pictures, but rather offers its own sequence of thematically connected pieces that run parallel to the film and build up an independent drama and suspense .
Others
Narciso Ibáñez Serrador made a cameo appearance in the film : When the tourist couple arrived in Benavís, he played a passer-by, who was asked by Tom as he got off the bus about the reason for the fireworks that were going on at that moment, to which he replied: Ah, es fiesta mayor en Benavís (“Oh, it's city festival in Benavís”).
"Embassy"
Narciso Ibáñez reports of controversial interpretations of the message of his work:
“Luego existió sobre todo en el extranjero, un choque de pareceres. Te diré que algunos pensaban que era una defensa del maoismo y para otros del fascismo. "
“Afterwards there were very contrary views, especially abroad. Some thought it was a defense of Maoism, others of fascism. "
Ibáñez himself actually rejected the term “message” for his film, but stood behind the interpretation, which interprets the behavior of the children in the story as revenge. In an interview with La Vanguardia in the spring of 1976, he stated:
"No me gusta hablar de mensaje, pero creo que éste no es difícil de captar. Si los niños son crueles y se revelan no son ellos los culpables sino nosotros. Yo siempre sostuve que a los niños se les tiene que educar veinte años antes de nacer. O sea que somos nosotros los que nos debemos educar para tener hijos, para que estos hijos results positivos y que no hereden solo carne y sangre sino buenos sentimientos. "
“I don't like to talk about a message, but I think it's not difficult to grasp. If children are cruel and show it, it is not they who are to blame, we are. I've always said that children have to be raised twenty years before they are born. So it is us: We have to raise ourselves to bring children into the world so that they can become good children who not only inherit flesh and blood, but also positive feelings. "
Decades later, the director shared the view expressed in the prologue of the film and in some dialogues that children always suffer the worst from armed conflicts and human catastrophes. However, he later considered the striking conveyance of this view in the opening credits to be a mistake, as he admitted in 1999:
“Pero es un error, porque luego comienza la película y te olvidas de aquello y sin embargo es la raíz del porqué. Si tu recuerdas, por supuesto que sí porque lo tienes muy fresco, la guerra de Kosovo, verás que las víctimas más terribles, las que más pena te dan, son los niños. It decir, los niños siempre son las víctimas de los adultos, y en mi película algo pasa que deciden defenderse de sus enemigos. "
“But that's a mistake because that's when the movie starts and you forget about it, even though it's the root of it all and answers the question of why. Think of the war in Kosovo, it will come up soon and is still very fresh, there you see: the most terrible victims, the ones you feel most sorry for, are the children. So the children are always the victims of the adults, and something happens in my film that makes them defend themselves against their enemies. "
Ibáñez then compares the inexplicable aggressiveness of the children with the attacks of the birds in Hitchcock's The Birds :
“Pasa lo mismo con los pájaros, aunque a los pájaros el hombre no les hace daño, pero de repente nos atacan, no sabemos por qué. Pero aquí hay una razón mayor, de porque los niños inconscientemente atacan. Atacan a los enemigos. Creo que no nos damos cuenta de que somos verdugos de los niños. Si no recuerdo mal es el fotógrafo el que dice en la película: Cuando hay hambre las víctimas son los niños, cuando hay guerra las víctimas son los niños. Siempre la víctima es el niño. Eso es lo que yo pienso y lo que quise expresar en mi película. "
“The same thing happens with the birds: although humans do nothing to the birds, they suddenly start attacking us, we don't know why. But there is a higher reason why the children unconsciously attack. They attack the enemies. I don't think we realize that we are the executioners of the children. If I remember correctly, it is the photographer who says in the film: When there is hunger, the victims are the children, when there is war, the victims are the children. The child is always the victim. That's what I think and what I wanted to express in my film. "
Ibáñez explains the question of how the cruelty of the children in his film is compatible with his child-friendly view with the lack of childlike awareness:
"No, yo adoro los niños. Pero los niños, precisamente por su inconsciencia, pueden rozar la crueldad. (...) El niño es cruel por naturaleza; el niño le arranca los pelos al gato, le tira de la cola al perro ... Cosas que un adulto ya no hace. Los niños llevan a cabo actos de crueldad de los cuales no son conscientes. "
“Yes, I adore children. But children can spread cruelty precisely because they lack awareness of it. (...) A child is by nature cruel: children tear the cat's hair out, pull the dog's tail ... things that an adult no longer does. Children commit cruel acts without being aware of it. "
reception
success
The film was largely positively received by the audience and critics. It grossed over 63 million pesetas in Spain and was viewed by 868,396 cinema-goers. In comparison with Chicho's first film La residencia , which had been very successful at the box office and, together with other films, opened the so-called “Golden Age” of Spanish fantastic cinema in the early 1970s, ¿Quién puede matar a un niño? rated significantly better by the criticism.
The film received international attention, particularly in Italy ( Ma come si può uccidere un bambino? ) And in the United States , where Island of the Damned quickly developed into a cult film of the so-called "Eurohorror" scene.
Award
In January 1977, the director and screenwriter Narciso Ibáñez Serrador received in the French winter sports resort Avoriaz for ¿Quién puede matar a un niño? the Critics' Prize of the fifth edition of the Festival international du film fantastique d'Avoriaz .
Reviews
"He consistently avoids expressing the children's motivation openly, and convinces as a grim dystopia about what could happen if the weak in society begin to defend themselves."
"Serrador's classic 'To Kill a Child ...' is a gripping film experience of formal brilliance and threatening intensity that will shake and inspire for decades to come."
“Original horror piece, based on the work of the same name by Juan José Plans. A film full of moments of horror that was very successful at its premiere. [...] a terrifying soundtrack [...] worth seeing. "
“Curiosa entrega de terror basado en la obra homónima de Juan José Plans, Una cinta llena de sobresaltos y que alcanzó gran éxito en su estreno. (...) terrorífica banda sonora (...) Interesante "
Despite its above-average popularity, film critics have rarely dealt with the work in depth in the past few decades; convincing, detailed studies on the film are rare.
Remake
A first remake was planned for 2006 under the title In the Playground (original working title: Child's Game ), the first English-language film by Filmax. David Alcade was scheduled to direct and the project was budgeted for $ 4 million.
Fox International Productions announced a Spanish-language remake called Child's Play in early 2012 . Vinessa Shaw , Ebon Moss and the Mexican actor Daniel Giménez Cacho star , and the anonymous Belarusian screenwriter "Makinov" directed the film.
The Mexican film finally celebrated its world premiere in US cinemas on March 22, 2013 under the title Come Out and Play . On September 24, 2013, the remake was released under the title Come Out and Play - Children of Death by Ascot Elite in Germany and Austria.
literature
- Aída Cordero Domínguez ( Complutense University of Madrid ): El fantástico de Narciso Ibáñez Serrador. In: Área Abierta no.17 (July 2007), reference: AA17.0707.91 (Spanish).
Web links
- ¿Quién puede matar a un niño? in the Internet Movie Database (English)
- To kill a child ... in the dictionary of international films
- Comparison of the cut versions VHS unchecked - No youth release of a child to kill ... at Schnittberichte.com
Individual evidence
- ↑ a b Orvio García: Marian Salgado (interview). In: Monster World , No. 12 (March 15, 2014), pp. 88–90.
- ↑ a b c d Interview with Chicho Ibáñez Serrador on the 40th anniversary of the premiere of his film in the broadcast Días de cine ( RTVE ), April 28, 2016, transcript accessed on July 22, 2018.
- ^ Scream (1976). In: Lexicon of International Films . Film service , accessed July 22, 2018 .
- ↑ a b c d e f g h i j k l m n o p q r Daniel Rodríguez Sánchez, Jesús Bernal: Crítica de “¿Quién Puede Matar a un Niño?” (Narciso Ibáñez Serrador, 1976) . In: Ultramundo. Revista Pulp. October 11, 2013.
- ^ Aída Cordero Domínguez: El fantástico de Narciso Ibáñez Serrador. Madrid 2007, p. 6.
- ↑ La residencia (1970) in the Internet Movie Database (English)
- ↑ a b Aída Cordero Domínguez: El fantástico de Narciso Ibáñez Serrador. Madrid 2007, p. 9.
- ↑ Zinéfilas (collective of authors): ¿Quién puede matar a un niño? In: Zinéfilaz (film blog), June 3, 2016, accessed January 20, 2019 (Spanish).
- ↑ El extraño amor de los vampiros (1975) in the Internet Movie Database (English)
- ↑ a b Apología sinfónica del terror, por Waldo de los Ríos , in: estudiodelsonidoesnob , December 2, 2009, viewed on July 23, 2018.
- ↑ El cine español en cifras , in: Quatermass. Antología del cine fantástico español , autumn 2002 edition, p. 135 (information given by Rodríguez Sánchez / Bernal, Crítica de “¿Quién Puede Matar a un Niño?” , 2013).
- ^ Aída Cordero Domínguez: El fantástico de Narciso Ibáñez Serrador. Madrid 2007, p. 10.
- ↑ Brigid Cherry: Beyond Suspiria ? The Place of European Horror Cinema in the Fan Canon. In: Patricia Allmer, Emily Brick, David Huxley (Eds.): European Nightmares. Horror Cinema in Europe Since 1945. Wallflower Press, London / New York 2012, pp. 25–34 (here: p. 29 in the Google book search).
- ↑ To kill a child ... In: Lexicon of the international film . Film service , accessed July 22, 2018 .
- ^ Criticism at Filmstarts.de
- ↑ criticism from Filmaffinity Chile
- ↑ Miguel Díaz González: Editorial on the criticism by D. Rodríguez Sánchez / J. Bernal, in: Ultramundo. Revista Pulp. October 11, 2013.
- ↑ BD Horror News: Lemon Films Teams Up for 'Child's Game' ( Memento from May 3, 2014 in the Internet Archive ) (as of September 15, 2006).
- ↑ Upcoming Horror Movies: In the Playground ( Memento from January 2, 2013 in the Internet Archive ) (as of May 4, 2007).
- ^ Steve Barton: Child's Play - Spanish Language Remake of Who Can Kill a Child on its Way. In: Dread Central , January 24, 2012, accessed July 23, 2018.
- ↑ Jeremy Kay: FIP Berlin slate includes Mortensen's thriller plan. In: Screen Daily , January 21, 2012, accessed July 23, 2018.
- ↑ Evan Dickson: 'Who Can Kill A Child?' To Be Remade As 'Child's Play', Chucky Will Not Be In It. In: Bloody Disgusting , January 24, 2012, retrieved on July 23, 2018 (message also in Fangoria ).
- ↑ Come Out and Play with This Latest Contest. In: Dread Central , March 21, 2013, accessed on July 23, 2018 (mirror message on IMDb).
- ↑ Come Out and Play - Children of Death (DVD) on Video World , accessed July 23, 2018.
.jpg){kind=link}