Bean and the Babysitter, directed by Jason Michael Roberts, examines what occurs as opposing ways of life are forced to come together in grave situations. The film begins with babysitter Pat arriving at the farm to take care of Bean. As the parents quickly take off, the isolating and quiet nature of the farmhouse becomes evident to Pat, who is accustomed to city-life as a student. Bean, a young boy obsessed with everything western, longs to have a partner to play sheriff with but Pat denies his wishes given that she is too busy studying anatomy for her upcoming final. As night passes, Pat awakes to the realization that Bean’s parents have not yet returned - and will not return. This revelation procures different results from Bean and Pat, as they must now figure out how to survive on their own.
The circumstances the two are placed under highlight the differences between the two protagonists. Pat is used to her collegiate, urban domain. Bean is familiar with his rural, quaint neck of the woods. Pat leads with her head. Bean leads with his heart. On paper, the pair could not be any more different. If Bean is the sheriff in his own wild west, then Pat is his outlaw. Yet in their joint effort to endure in this mysterious setting, the pair of youngsters learn that their differences do not define them and their relationship. There is a place for both of their customs; in fact, their differing approaches are pivotal in allowing them a chance at survival. It will take both Bean’s expertise of natural farm life and Pat’s knowledge of the intellectual to last through their lone nights in the midwest.
Roberts’ choice of setting the film in a previous time period emphasizes the pair’s remoteness even further. There are no smartphones to contact Bean’s parents with or Google Maps to navigate back to town. Pat and Bean have only themselves and their skills to guide living in seclusion. Further, the lighting technique of a sepia-esque tone contributes to the atmosphere of the midwest, rural landscape in addition to subconsciously lending a feel of the past to the audience. This bright coloring heavily contrasts the dark, claustrophobic feeling of the nighttime. When the sun goes down and the daylight disappears, the viewer is able to sense the isolation and pressure of the situation through lighting cues. The mysterious shadows get larger, the howling cries of coyotes get louder, and Bean and Pat are left stuck inside with nothing to do but let their imagination run wild. Every sound becomes a potential danger, every corner hides a possible threat, and the anxiety of the young pair grows. This tension created by Roberts leaves the spectators on the edge of their seats, waiting to see how Pat and Bean will dig themselves out of this hole.
Although the pair’s surroundings are stressful, the film itself is distinct for its heart at the center of the story. Pat’s safe keeping of Bean illustrates the humanity in this narrative, as compassion and empathy override fear. It is in this way that Bean and the Babysitter can be viewed as a sort of coming-of-age story for the two main protagonists. Bean no longer has to listen to the radio to escape to the wild west as he must now take on the responsibility a sheriff might hold. Pat must use the experience she has gained from college to transfer her knowledge off the page and towards real life scenarios. Both utilize a core part of their lives and passions to mature and take power over their own existence. The film is suspenseful and endearing, ultimately supplying an enjoyable watching experience.
Bean and the Babysitter screens at the Spring 2023 New Jersey Film Festival on Friday, February 3 as part of the Shorts #2 Program. The film will be Online for 24 Hours and In-Person at 7PM in Voorhees Hall #105/Rutgers University, 71 Hamilton Street, New Brunswick, NJ.
To buy tickets go here.
For General Info on the Film Festival go here: https://newjerseyfilmfestivalspring2023.eventive.org/welcome
