In 1922, Wilfred James (Thomas Jane, Dreamcatchers and The Mist), a farmer in Nebraska, is dealing with hard moments in his wedding. His wife Arlette (Molly Parker, House of Cards) wants to sell the land, get a divorce and take with her the couple’s teenage son (Henry, played by Dylan Schmid) to Omaha, to live the city life. Continue reading “The most Lovecraftian out of King’s adaptations. 1922 – movie review”
Legend says that Stephen King, dissatisfied by his latest adaptations, asked Rob Reiner to work on the transposition of his novel Misery (1987) to film.
The director behind the awesome Stand by me (1986) agreed to work on a King’s source material once again. As a result, Misery (the movie) came out in 1990, starring Kathy Bates and James Caan.
Winning an award to Bates for best actress in a leading role, Misery probably deserved even more. I’m so in love with this movie!
Partly, it’s because the type of movies revolving around a few characters locked up somewhere (à la 12 Angry Men, 1957) have always had a special place in my heart. With very little to work with, this formula exploits its potential as a character study, which is something I always found mesmerising, as a cinephile.
What kind of ‘secluded’ situation are we dealing with in Misery, then? Basically, famous writer Paul Sheldon (James Caan) has just finished its latest novel about (you guessed it) Misery. She’s a character he built his career around but decided to kill off to move on as a writer. Driving back home after finishing said book, Paul ends up having a car accident due to a snowstorm.
Paul and his only copy of the manuscript get saved by a nurse, Annie Wilkes (Kathy Bates). Good for him. Or maybe not?
In fact, quite soon after Paul is taken to Annie’s isolated house, he notices something is off with the nurse, who claims to be “her biggest fan” and, perhaps, is a bit overly obsessed with him and the character of Misery.
From now on, the audience is gripped to a story which sees an immobilised Paul (with his legs broken and in rather bad conditions) trying to escape his host, while Annie pushes him to rewrite his latest novel and make it more ‘Misery friendly’.
Misery is, clearly, a character driven horror/drama/thriller, I’d say. Good for us, the performances by the two leads are great.
Kathy Bates, in the role that made her famous, is just fantastic: she ranges from being creepily sweet and caring to going bad shit insane and violent. For instance, when Caan realises her madness for the first time, the sequence is handled so well by Bates’ performance. The way she gestures and speaks, coming up with the most ridiculous ways to cover her swearing, is just terrific. Impressively enough, from that first insanity moment on her acting improves and every time I watch this movie, I don’t see Kathy Bates on screen: I see freaking Annie Wilkes.
Not to be overlooked though, is James Caan’s performance. To begin with, he mostly only had his facial expressions to rely on and still manages to be extremely believable and compelling. Also, at certain points in the film, his character needs to pretend to have different feelings: do you have any idea how hard it is to be a character within a character? Yes, Bates steals the show, but Caan at his best was also a delight to look at.
Yet, there is a subplot involving two other characters (a sheriff and his wife) that both links the story together and introduces us these amazing people, a likable and funny old couple. I love the sheriff, he’s so genuine and quotable: “Virginia, when we are in the car you’re not my wife; you’re my deputy!”. Great stuff!
Again, the direction of Rob Reiner is spotless: the whole movie has an incredible, somewhat nostalgic vibe that makes everything so intriguing, even the scenes that could have become dull. The set design is, also, amazing: everything looks lived-in and realistic. The camera-work even manages to create some great sequences and peeps to the action from uneven angles.
Besides the infamous ‘hammer scene’ which Misery is famous for even among those who haven’t seen it, this film delivers some intense psychological torture. For a passionate writer having to burn or rewrite their book must be very hard to take. I mean, even I get mad when I forget to save a post and I have to write it again from the beginning!
In all honestly, I don’t think there is any flaw in this movie. Well, other than a tiny editing mistake that you’d notice only if you’re as obsessed as I am with the technical aspects of a movie. Also, I didn’t love the score, because sometimes highlights too much the most intense scenes.
Anyway, Misery is simply a masterpiece. I probably consider it one of my all-time favourite movies, one that also happens to feature an awesome, fulfilling and climactic ending. Must watch!
Barack Obama and Mitt Romney are having a face-to-face on the national television: 2012 election for the White House is approaching and American people’s major concerns revolve around politics, economy, Obama care…
In Black Spring, a few miles down the road from New York, alongside the Hudson, Tyler Grant – son of Steve and Jocelyn – is making his way on YouTube as a vlogger. Not one of those who show off their uninteresting lives 24/7, though. He is a journalist-in-the-making, who wants to make the word a better place through his investigations and sharp, unapologetic statements filled with young-adult idealism.
However, Tyler has little interest toward the American election, since his main focus is “bringing Black Spring out of the Dark Ages” and showing that Katherine van Wyler, the Black Rock Witch with sewn-shut eyes and mouth who’s been haunting the town since the 17th century, cannot make the town folks live like barbarian any longer.
The young idealist must act in the dark, away from the indiscrete eyes of Black Spring committee and HEX – the security squad that follows ancient laws and applies corporal punishments for those who don’t obey to them, no matter how the rest of America is civilised and advanced.
Nonetheless, the dangers for Tyler Grant also come from some of his friends who took the concept of “opening the eyes of the town” way too far, deciding the set up a private, gruesome and cruel revenge against the Black Rock Witch.
The consequences of their actions will be deadly lethal not just for them, but for the entire citizenry of Black Spring.
HEX (2016) is the brilliant English debut of Dutch novelist Thomas Olde Heuvelt, who wrote a ‘primitive version’ of the book back in 2013, for the Dutch audience.
His new version of the story, set in the United States – within a very different society – perfectly captures the American spirit in its bright spots and shadows.
This book succeeds on many levels, primarily in terms of character development. HEX tells the story of an entire community, giving all the main characters compelling motivations and strong personalities. When you read the book, you feel part of Black Spring and there’s nothing more refreshing than being dragged and immersed into a story like this.
Black Spring is, itself, a major character and massive source of horror. Although Katherine is a constant, dreadful presence in the book – the Judgment Day will come when she’ll open her eyes, rumours in town say – the citizens are catalyst of terror and hideous actions.
Thus, the story is interesting because, besides Heuvelt’s enormous writing skills, everything is blurry and the boundaries of good and evil merge often, as it happens in human nature.
In perfect Stephen King’s style, the author utilises a paranormal entity as Katherine to describe the every-day-horror that lies underneath the surface of modern societies.
That’s the most striking part of the story and moral of HEX, in my opinion. This book enhances the consequences of fear and mass hysteria: so that Katherine could as well be a symbol for everything that scares a community to the point it loses humanity and brotherhood values.
Katherine is the object of a propaganda that turns civilised people in bloodthirsty barbarians who are apt to flog teenagers who disobeyed anachronistic codes and offer human sacrifices.
As per issues with the novel, I believe there’s one storyline which did not need to be there. The Delarosa are a recently married couple who move to Black Spring and witness the appearance of Katherine: they are utilised by the author as a device to carry the story along and insert a long expository dialogue which gives the witch a backstory that could have been provided in a much subtler way throughout the pages.
Yet, HEX being a horror novel, the scary beats – those that would be translated to jump-scares in a film – are procrastinated by the insertion of descriptive moments that only make the tension shy away.
Also, the ending (the last few pages) is quite confusing and left open to interpretation. Although I don’t usually despise this technique and the message is still delivered clearly, many storylines are left hanging and that may cause a bit of disappointment.
Nevertheless, HEX is one of the best horror/mystery novels I have read in years. Suitable for any kind of reader (+16, I’d say), Heuvelt’s book is a breath of fresh air for the genre and I’m looking forward to reading his next work.
Author: Thomas Olde Heuvelt