Even after two watchings it’s hard to say for sure what was real and what was dreams in this Hitchcock homage (or deconstruction, for lack of a better work). As in many DePalma movies, time is disjointed and not particularly sticky, both in terms of the action and in terms of cause and effect. Clocks are everywhere here, but they confuse more than clarify; likewise childhood events (and the people who inflicted them, supposedly long gone) are front and center. Janet Maslin might have said it best: “Raising Cain is best watched as a series of overlapping scenarios that may or may not be taking place in the real world.” On the second watching, things were far more clear, but I’m not sure if that’s the point. Like my favorite V.C. Andrews novel, My Sweet Audrina, this isn’t a movie interested in plotting things out on a timeline and straightening them about. It’s about throwing a bunch of ideas, images, and obsessions into a pool and diving in.
There’s a lot in here from my favorite Hitchcocks, and some other favorites as well–Carter (John Lithgow), a child psychologist, has multiple personalities due to childhood abuse (Psycho). But in this case, the abuse was intentional–Carter’s father, the Norwegian Dr. Nix, was a child psychologist (Spellound) at an “institute for child development” (Oh, DePalma and his institutes!). Dr. Nix intentionally tortured his children into developing split personalities. Now Carter lives in the Bay Area (Vertigo), where he’s a stay at home dad in a nice suburban community (Orson Wells’ The Stranger), until–well, until all kinds of stuff happens. Carter’s father, Dr. Nix, who may or may not be dead, needs more children for his experiments, so Carter and his multiples/siblings/aspects go about taking some, which means killing their parents. Meanwhile, Carter’s wife Jenny runs into an old flame, Jack. In a long sequence that drifts in and out of dreams, hallucinations, and reality (Nightmare on Elm Street), Jenny and Jack make love in various places (or don’t), Carter catches them (or seems to), and Carter kills Jenny (or doesn’t).
The attention here is on Carter and his father–but I found myself most interested in two minor characters. The first was Carter’s own daughter, Amy. Carter has a video-camera baby-monitor set-up via which he can watch Amy, and we can watch him watching Amy. Remember, Carter was tortured by his father into developing multiple personalities, and now his father wants Amy to experiment on. Watching Carter and Amy through the video monitor is creepy and terrifying because of what could happen–but nothing really does. Carter, as far as we see him, is a great dad. And in the end, the personality that rises to the top of Carter’s psyche is the mysterious Margo–a Kali-ish kind of mother figure who will (and does) kill to protect children. What exactly did happen to Amy–did Margo and Carter protect her, or did the other personalities have their way with her?
The other character who really entranced me here was Frances Sternhagen as Dr. Lynn Waldheim (Spellbound again), a doctor who’d worked with Carter’s father. In a beautiful long tracking shot, Dr. Waldheim explains the story of Dr. Nix to two policemen as they walk through a municipal building to the morgue, veering off into wrong turns at every chance. I can’t say what it was about her, or her character, or the story–but somehow, in some sense, she was the lynchpin that made this all come together.
I also want to say this: for reasons I don’t understand, the near-to-final scene of John Lithgow, in an elevator, wearing a wig, a trenchcoat, and no shoes, holding up a bag of groceries to cover his face, is one of the most disturbing things I’ve ever seen. I don’t know why John Lithgow’s feet are so terrifying but trust me, they are.