Twenty years ago, on October 9, 1999, a Disney Channel Original Movie premiered on television that instilled nightmares for a generation. If you were a kid growing up in the ‘90s, then there’s a high probability this movie and its nightmarish imagery embedded itself into your skull and never left. For many, Don’t Look Under the Bed is considered Disney’s most terrifying original movie. It was one of the rare titles to earn a PG-rating for its scary scenes. Perhaps too scary; the Disney Channel ultimately stopped airing the film at the request of unhappy parents that complained it was too much for their kids to handle. Two decades later, the film is still a standout for its bold take on the boogeyman and grown-up themes.
The movie is set in the small town of Middleberg, where a series of strange pranks is setting its residents on edge. Alarm clocks are going off hours too early, dogs wind up on the roofs of homes, and even the school’s pool is filled with gelatin. All signs seem to point toward teen Frances Bacon McCausland (Erin Chambers) as the prank mastermind. Frances suspects the culprit is new kid Larry Houdini (Ty Hodges), but it quickly becomes clear that only she can see him. It turns out that Larry is an imaginary friend, and Frances’ only ally in her fight against the true villain- a terrifying boogeyman that really has it out for her.
That plot set up doesn’t exactly scream “scary” does it? For a good chunk of the first act, Don’t Look Under the Bed feels like pretty standard Disney fare. Except for one tiny little motif that keeps recurring, indicating something very foreboding ahead; the freaking dolls. Frances is constantly in a state of defense and confusion as the scapegoat of the prankster, so only the audience is aware that something sinister has invaded her home. How? The porcelain dolls in Frances’ room move on their own accord when no one is looking. That’s nightmare fuel for a grown-up, let alone a kid.
As the narrative progresses, the more we get to know and like imaginary friend Larry Houdini. But Larry also starts to undergo bodily and personality changes. It’s not of the puberty variety, either. Poor Larry is slowly transforming into a boogeyman. Gnarly long fingernails. Glowing purple eyes. And the teeth. Sharp, pointy rows of teeth. It’s pretty creepy, actually. Especially when he crawls along the floor. Never mind that this is before Frances’ baby brother is dragged under the bed into a bizarre boogeyman world for an exhilarating third act showdown.
Between the haunting atmosphere, subtle touches, and full-on creepy boogeyman design, it’s not so surprising in hindsight that this movie would have put parents on edge. It is surprising, though, to realize just how mature and timeless the central themes are. Larry is turning into a boogeyman because the child he was attached to stopped believing in him far too soon, before the child was ready. Being forced to face adulthood doesn’t seem outside the norm for Disney, but the why of it is.
It turns out that Larry’s kid buddy was Darwin, Frances’ baby brother. Throughout the film, the McCausland family references Darwin’s former bout with illness. It turns out he’s in remission from Leukemia, and Frances pushed Darwin to shun his imaginary friend out of her own fears. It’s not just growing up too soon that permeates this film, it’s the tangible and adult fears of death. Of cancer or illness that threaten to claim your loved ones. When Darwin crawls into his sister’s bed and confesses that he’s afraid to get sick again, it’s heartbreakingly mature. Don’t Look Under the Bed offers up the one-two punch of both supernatural and real-world horrors.
Disney has been on a spree announcing exclusive titles for their upcoming streaming service, including tons of Disney Channel Originals. Luckily, they’ve announced this movie as part of its exclusive offerings. Don’t Look Under the Bed earned its PG rating and its reputation as “too scary for kids.” Even twenty years later, its unexpected depth and complex approach to the scares still holds up well. This one deserves to haunt a whole new generation.
