When initially discussing our current Movie of the Month, the 1981 Canuxploitation curio The Pit, Boomer lamented the loss of its screenplay’s original subtext about childhood struggles with Autism. In its conceptual phases, The Pit was intended to be a thoughtful insight into the mind of a child on the spectrum. Jamie’s misunderstanding of personal boundaries and fantastic obsessions with his “talking” teddy bear and the Tra-la-logs (troglodytes) that live in a pit in the nearby woods were originally intended to be empathetic teaching points about the internal processes of a child on the spectrum struggling with the emotional & sexual discomforts of early puberty. Realizing that kind of subtle, thoughtful child psychology drama wouldn’t make nearly as much money as a bonkers horror film with the same basic premise, producers pushed for a different story altogether. In The Pit as a final product, the woods-dwelling troglodytes & telepathic teddy bear are demonstrated to be real, and really dangerous. Jamie himself makes a leap from a misunderstood, bullied child with boundary issues to a full-on perverted menace who even out-creeps the flesh-eating Tra-la-logs as the film’s most hideous monster. I understand some of Boomer’s mixed feelings on this shift from empathetic child psychology drama to exploitative horror cheapie, but ultimately, I gotta say the producers made the right call (at least in terms of The Pit’s entertainment value). I’ve already seen a movie with The Pit’s budgetary & creative means attempt to recapture the imaginations & frustrations of a child on the spectrum through their relationship with a talking teddy bear. It was 2009’s Gooby, a film that’s only notable for its unintended terror & laughable absurdity (thanks largely to being covered on the “bad movie” podcast How Did This Get Made?); It’s the same fate I believe The Pit would have suffered if it had attempted sincere melodrama about Jamie’s troubled psyche.
Once you consider them as a pair, the parallels between Gooby & The Pit are unmistakable. A G-rated (presumably Christian-targeted) children’s film, Gooby follows a small child struggling to adjust to his family’s move into a new home, not his burgeoning sexuality, but the ways his anxieties manifest are very similar to Jamie’s. Instead of fearing Tra-la-logs, the pint-sized protagonist of Gooby fears “Hoonies”: two-headed CGI bird-beasts that only he can see. He also processes the emotional stress of his changing life and the threat of the Hoonies through his relationship with an anthropomorphic teddy bear. In The Pit, the teddy bear is a telepathic communicator who encourages Jamie to explore his sexuality and enact his revenge on perceived enemies in increasingly unsavory ways. In Gooby, the titular teddy bear transforms into a six-foot tall imaginary friend (voiced by Robbie Coltrane, of Hagrid fame) who provides his corresponding troubled child with emotional support in a time when he’s isolated from the humans in his life. Gooby is, in theory, the wholesome version of The Pit, with all the icky sex & violence replaced with tender, empathetic insight into the mental processes of an outsider child on the spectrum struggling to adapt to a new reality and to relate to the other humans in his social circle. Yet, Gooby is deeply disturbing in its own, unintended way both because of its lighthearted, sanitized exploration of deeply troubling emotional issues and because Gooby himself is a goddamn nightmare to look at. By leaning into its genre film potential and making its monstrous threats “real,” The Pit transcends so-bad-it’s good mockery to become something undeniably captivating & unnerving. Gooby, by contrast, risks the child psychology sincerity of The Pit’s original form and falls flat on its face because of its shortcomings in budget, dialogue, and character design. By trying to make the imaginary teddy bear friend of The Pit’s basic dynamic a lovable goofball, Gooby only succeeded in creating a new kind of horror, one that plays as an embarrassing mistake instead of a successful attempt at small-budget genre filmmaking. Both films are equally fascinating & unnerving, but only one’s effect feels successful in its intent – the one that asks to be treated as a horror film to begin with.
There are plenty of successful, well-considered children’s films about processing mental & emotional anxiety through imaginary devices – Paperhouse, MirriorMask, The Lady in White, A Monster Calls, I Kill Giants, to name a few we’ve covered here. Gooby & The Pit attempt a very specific, shared angle on that formula in their teddy bear vs. imaginary monsters (whether they be Hoonies or Tra-la-logs) interpretation of childhood Autism conflicts. The difference is that Gooby fully commits to the “It was all in their head” metaphor originally intended but abandoned by The Pit, to disastrous results. Whether a limitation in talent or budget, Gooby never had a chance to be anything but an absurd, unnerving embarrassment headlined by a nightmarish teddy bear goon. The producers of The Pit likely saw their own project heading in that direction when they decided to bail from the original child psychology melodrama script to pursue a more marketable cheapo horror genre payoff. The results are largely the same. The Pit & Gooby are both deeply uncomfortable curios that reach a very peculiar level of terror you might not expect given how goofy they appear from the outside. The difference is that The Pit comes out looking ingenious for framing that effect as its intent, whereas Gooby persists only as a how-did-this-get-made mockery, an abomination & an embarrassment. They’re basically the same movie, but only The Pit was self-aware enough to realize its own horrific effect.
For more on October’s Movie of the Month, the horned-up Canuxploitation horror curio The Pit, check out our Swampchat discussion of the film and last week’s look at its big-budget equivalent, The Gate (1987).