Hugh and his children face Hill House, one final time.
Olivia's story is told, as the secrets of Hill House emerge further.
Luke heads back to Hill House. Steven and Hugh bond after years of estrangement.
In the early days at Hill House, Hugh made discoveries when clearing the basement of black mould.
Hugh arrives at the funeral home where his children are waiting on a dark, stormy night.
Nell is followed from Hill House by the Bent-Neck Lady for the rest of her life, until her last fateful night.
Luke's memories of Hill House haunt him
Theo's work as a child psychologist brings her to empathise with a patient, forcing her to relive old memories of Hill House.
In the wake of Nell's suicide, Shirley struggles with memories of her childhood, specifically those of her mother.
Secret Window. 2004. Directed & Written by David Koepp; based on the novella Secret Window, Secret Garden by Stephen King from the collection Four Past Midnight.
Starring Johnny Depp, John Turturro, Maria Bello, Timothy Hutton, Charles S. Dutton, Len Cariou, Joan Heney, John Dunn-Hill, Vlasta Vrana, Matt Holland, Gillian Ferrabee, Bronwen Mantel, & Elizabeth Marleau. Grand Slam Productions/Columbia Pictures Corporation/Mel’s Cite du Cinema.
Rated 14A. 96 minutes.
While I do love Stephen King’s full length novels, some of his deeper, more penetrating work is found in the novels and short stories with which he fills the rest of his time aside from writing epic, sprawling books. I’ve read almost everything King has done, except for a few books here or there. As far as the short story and novella collections, I’ve run the gamut. So many great tales, such compelling writing. The collection from which Secret Garden is adapted, Four Past Midnight, also contains The Langoliers, which has also seen a tv movie treatment. It further has two more novellas, though neither of those has been adapted on film or for television.
The novella Secret Window, Secret Garden tells the story of Mort Rainey (played here by Johnny Depp), a novelist who one day is visited by a man named John Shooter (the ever wonderful John Turturro) accusing him of having plagiarised a story of his own. Mix in a failed marriage, an ex-wife (Maria Bello) that cheated on him that’s currently in a relationship with the same man, Ted (Timothy Hutton), and there’s plenty of psychological tension, as well as real life horror. Although there are a few portions of the movie that could have been tighter, some dialogue that doesn’t work properly or well as it should, Secret Window improves on a couple aspects of the novella, mainly the ending; I do like the source, but this adaptation makes things more sinister, more eerie. Not everything works. What does work is the gradual sense of reality slipping away, as the script leans deep into the perspective of Mort and Depp is able to carry that with a top notch performance. Even if there wasn’t enough to ultimately feel as scary as it ought to, writer-director David Koepp does well by coming to a different conclusion than the original story and at least pulls the tension tight for most of the runtime. Far as King adaptations go this is absolutely better than most.Something I love about both the writing of Mort’s character and the performance by Depp is that the feeling of being a writer comes across effortlessly. As someone whose days have been filled before by naps, the lure of that comfy couch, food, cigarettes (and before I went sober, booze and so on), Mort feels impossibly real. Of course that comes from King as an author himself, putting what he knows into the character. He knows exactly what it’s like. More than that, Depp ingrains a sense of that writer’s life in the performance. This could actually come off easily as a standard character, and in a way he is, but Depp allows for more than that and brings his talent to the table in spades. Just how he sulks, heading back to the couch for comfort, picking away at his food, and even laying on the floor with his dog, all in lieu of actually being productive and doing some writing.
Overall, the cinematography is solid, courtesy of Fred Murphy (Auto Focus, The Mothman Prophecies, Stir of Echoes & more). The look of the film has a rich look, and at the same time the colours are muted; not too bright, yet not muddled either. It goes well with the mood of the story. On top of that, Murphy captures certain shots interestingly, and Koepp makes nice choices as director to keep the visual aspect of the movie exciting. At times, you could almost see this falling into a melodramatic tv-styled production. What saves it is the production value itself. In addition to the nice look, the score is phenomenal. There are foreboding scenes filled with tension, suspense enough to choke you, and a large part of this is due to the music from Philip Glass and Geoff Zanelli. On one hand, Zanelli is more of a blockbuster type composer, some nice titles under his belt. On the other hand, Glass has done some large scale stuff, but his strengths lie in the smaller, more heart-filled stories, working on everything from the recent Leviathan to Errol Morris’ groundbreaking (and life changing) The Thin Blue Line. Somewhere between the two men their talent converges to become a pulsating wall of sound. Many moments are the typical mystery-thriller sounding pieces. At other times Glass and his sensibilities ring through, an ambient and soft glow of music hovering around the scene, and then there are those unexpected bursts of sonic goodness which are expected of the unusual, talented composer.
A lot of people, that don’t read his books enough, usually peg King as a horror writer. As if he does nothing else. Secret Window doesn’t contain much horror, other than the psychological sort and a slice of existential dread. Most of what becomes scary in this story concerns watching poor Mort try and distinguish what is reality, and what is fiction. There’s a large focus on the theme of fiction blurring into reality, which ultimately plays into the very end of the plot. Before that we already see how the story Shooter confronts Mort about parallels the life of the author, his failed marriage and subsequent divorce, the paranoia and suspicion, et cetera. Best of all is that psychological deterioration of Mort into which Koepp allows the viewer to fall. His talents for character and plot are what makes him capable of actually adapting King, a task not many who take on one of his stories are capable of achieving. He doesn’t write it all perfectly, some of the comedic elements come off too cheesy even for King. But the mystery and the thriller elements of the screenplay are well done. You may predict how some things play out before the end. Regardless, getting there is mostly a treat.
This is a better novella than it is a film. I don’t think it’s a bad movie, and it’s definitely worthy of 3&1/2 stars. There’s something missing, which I can’t exactly put my finger on. I really dig King’s writing. Again, that novella is a solid read I’ve gone through a couple times. And I even enjoy the adapted end Koepp comes up with better, as I mentioned. So why is it that Secret Window comes up short? Depp’s performance can’t hold up everything. The look and feel of the movie is good, the score comes off fantastic. Yet other than a sequence nearing the end when Mort figures everything out, there isn’t any overtly innovative filmmaking at play, nothing other than a bit of interesting camera work to compliment the storytelling. No matter how good some of the shots are and despite the atmosphere, the nice colouring all around, Secret Window is mostly just the Depp show. Were there more interesting, bold choices by Koepp, aside from the changed ending, this could be great. The directing isn’t bad, at all. King and his storytelling simply deserve more than run of the mill thrills. I can say all this, and still I own the DVD, I pop it on once every so often. It isn’t bad. Just could be much more.
The Dark Half. 1993. Directed & Written by George A. Romero; based on Stephen King’s novel of the same name.
Starring Timothy Hutton, Amy Madigan, Michael Rooker, Julie Harris, Robert Joy, Kent Broadhurst, Beth Grant, Rutanya Alda, Tom Mardirosian, Larry John Meyers, Patrick Brannan, Royal Dano, Glenn Colerider, Sarah Parker, & Elizabeth Parker. Orion Pictures.
Rated R. 122 minutes.
I’ve long said that George A. Romero and Stephen King go together like coffee and pie. Is that a thing, is that what people say? Well, I like coffee and pie. A nice treat. Just like I dig some Romero and King. They’re sweet together, as sweet as horror can get. You fans know what I’m talking about. Usually people associate Romero with the zombie sub-genre, and rightfully so: he single-handedly reimagined the zombie in modern terms giving birth to a trend that’s still going on today, which will undoubtedly continue until the end of time. Yet Romero made some really good work outside of the zombie structure. Long before 1993, too. But The Dark Half is one of those King-Romero collaborations that isn’t only interesting on paper. The whole film is a dark, gorgeous joy. Previously the two powerhouses of scary shit did well working on 1982’s Creepshow. Most will say that’s their best work together. I love that one, have it on the shelf alongside this and other Romero, as well as other King. I have to say, this one is my personal favourite of the two movies. Most of all because the book is so good, and for better or worse this adaptation nails most of the important aspects right on the head. The visual style is quite what we come to expect from the master of horror in Romero. King’s story matches the darkness of the director in his story examining duality, the lure of addiction in the sense of it creating an entirely other identity in one person, a quasi-monster movie about a man’s evil side literally appearing out of thin air. This is on the top of my lists for favourite King adaptations. There’s a lot to enjoy, even if it isn’t perfect. In the second half of the film things get riveting. Romero always goes for the jugular, this is no different.
Love the idea of duality. We’ve seen it many times before in literature, most famously in Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde. What’s most interesting about the King novel and this adaptation is how we look at the dual identities of George Stark v. Thad Beaumont (Timothy Hutton v. Timothy Hutton). This is a parallel of several things. Of course on the surface there’s the idea of literally mirroring King and his own pseudonym, Richard Bachman. This whole film can act as a metaphor about how King and his feelings of the success involved with Bachman’s writing, in that it became this whole other entity that needed to be dealt with, and King’s wild imagination concocts this whole story. On a deeper level there’s the fact King wrote The Dark Half right before going sober. His own feelings of the drugs and the booze taking over, the addiction becoming an entire entity all of its own, his need to rein in control as himself and be a sober man going forward, these are the biggest drive for the ultimate differences between Thad and George.
The whole visual difference between Hutton as Thad and George is awesome. When I read the book I really got such a feeling of uncanny terror when imagining the two versions of this one man. Particularly later on when things get very intense, the practical makeup effects used make the divide between Stark and Beaumont bigger. Added to all that there’s Hutton. Now apparently he was a horror to work with, even quitting the production at one point. Can’t say he doesn’t play the part to near perfection. He has the feeling of a writer torn in two from the start, not sure whether to keep riding on the success of a part of his identity which clearly causes trouble in his real day-to-day life. Then as we get further into the plot Hutton’s able to seamlessly transition from just a writer in distress to a man having one devastating existential crisis.
Something I’m very interested in personally is the Eastern belief in the concept of tulpa. Essentially, this is the concept that the mind is so powerful that it can will something into existence through pure thought. Further than that there’s often the idea that collectively, enough people might be able to will something into existence due to the amount of people expending mental energy on conjuring it up. Such is the case today with phenomenons like Slender Man and others. Certain occult thinkers might suggest these entities can become real, of flesh and blood, if enough people believe in them and will it so. In a way, George Stark is such a tulpa. Thad has not only thought him up, he’s effectively become a real person in that Beaumont hands his work over to the pseudonym, making him a part of the world. Then there’s the fact Thad had a malformed twin in his skull as a boy, this plays into more ideas about duality and further almost twists this into a monster movie – horrific images in the mind conjured up concerning a leftover bit of brain, bits of human matter not fully formed, waking up and growing into a whole man, wreaking havoc on a town in Maine. King, adapted well by Romero, takes a wild look at what happens if a murderous, hateful, vengeance seeking guy like Stark were to be willed into existence. There’s an equal part of camp much as there’s depth to the story. It’s all great, though there is quite a good helping of a sort of 1950s-style. There’s nothing wrong with that. Mostly it comes in the form of Stark who is appropriately a sort of typical 50s gangster with a razor blade, a slick-haired, leather jacket wearing, kinda Elvis copy. He’s no West Side Story sort, he’s much more dangerous than that. Along with his creepiness comes an awesomely throwback sense of camp that adds a dark humour to many of the kill scenes. All in all, the way King’s story and characters bring out the idea of the tulpa is lots of fun. Romero does his best to make that work and does a bang up job.
I can forgive a movie’s mistakes if most everything is compelling enough. King wrote a great novel, one to which I found myself glued until the last page turned and that back cover slapped shut. The Dark Half is in good hands with Romero. His directorial choices match his capabilities as a writer, each side complimenting the other. More than that I think he does well with adapting King. Not everyone can fit a novel of his into one screenplay properly, though I’m inclined to feel as if Romero does just that. Rather than make this into a half-assed attempt at jamming every little idea King had in the novel into the script, Romero opts to choose the best material, condense it, then make sure the lead character and his story gets brought out powerfully. The adapted screenplay works, and Timothy Hutton sells the Thad Beaumont character, in turn doing a fantastic job with George Stark in a highly opposing role; all the duality rests on him here, he carries that responsibility nicely. Throw in some nice effects, a couple nasty horror kills and blood to boot, this keeps things on the level for those genre fans out there. I forget how good this movie is then each time I put it on I remember, so quickly. If you’ve not seen it and call yourself a King fan, or one of Romero’s legion, then get on it, now. This is better than many will try and tell you.