Father Son Holy Gore

Needful Things. 1993. Directed by Fraser C. Heston. Screenplay by W.D. Richter; based on the Stephen King novel of the same name.
Starring Max von Sydow, Ed Harris, Bonnie Bedelia, Amanda Plummer, J.T. Walsh, Ray McKinnon, Duncan Fraser, Valri Bromfield, Shane Meier, William Morgan Sheppard, Don S. Davis, Campbell Lane, Eric Schneider, Frank C. Turner, & Gillian Barber. New Line Cinema/Castle Rock Entertainment.
Rated 14A. 120 minutes.
Crime/Drama/Fantasy

★★★★
 As an avid reader of Stephen King I’m always happy when I can tout one of the film adaptations as worthy of his writing. With any book the movie never seems to match up in quality, though on rare occasions this happens. What an adaptation for the screen can hope for is that it preserves the spirit of the source material. Not all adaptations of King novels work out appropriately, as I’ve mentioned in my other reviews recently. At least with a good couple hours directors and writers are capable of turning a large-sized novel into something worthwhile of the author’s efforts.
Needful Things makes use of every minute out of the two hour runtime. Screenwriter W.D. Richter manages to turn a large cast of characters into interesting people within that time frame, not jamming anything down our throats. Rather the screenplay allows for so much in 120 minutes because it’s structured well, it focuses on the right elements. Doesn’t hurt that the cast is spectacular, right down to the smaller roles. Then you’ve got Ed Harris, Max Von Sydow, Bonnie Bedelia leading the ensemble with strong performances. In particular, Sydow presents us with a version of the cinematic devil that stands out amongst so many other similar depictions of that mythic character. I can’t help loving this King film when so many never hit the mark, nor are they given the proper level of production in order to achieve what potential they have inherently. There’s a little bit of cheese here or there. Maybe you dig it, maybe not. Either way, Needful Things is a devilishly fun and mysterious mix of the supernatural and personal stories of drama, crime, and all sorts of small town issues. The novel is treated well here in this uneven yet awesome fantasy that takes place in that little town of Castle Rock, Maine.

First and foremost, Max Von Sydow is great. A perpetually fantastic actor whom I always find interesting to watch. He’s well suited to play a man such as this, one whom we know little of but glean that he’s, essentially, the devil. Literally. Even the name works, Leland Gaunt. But Sydow is what gives this screen character such fearful depth. His voice, his way of dressing, how he laughs and sweetly ingratiates himself to the men and women alike in Castle Rock; only part of that is the writing. Sydow’s abilities as an actor come out quite nicely with such a classic character as the literary Satan in disguise. He makes the devil so flawlessly friendly to those around him. Really one of the best devils out of any movie, regardless of how you may feel about the rest of the film.
Part of the performance is also his look in terms of makeup and costume. For most of the film we get that elegant, suit wearing look that suits Sydow so well. In brief moments the makeup renders him into a nearly goblin-like creature, his long nails protruding, yellow and thick, his nasty teeth shining in the light of certain head movements. Plus, much more. This isn’t always outwardly visible, only in those brief shots is it clear and that makes it more unsettling.
Everyone else is mostly great, even if Sydow is the centrepiece. Harris and Bedelia are both excellent, just as their chemistry makes their characters relationship sweet and loveable. Even young Meier does well as Brian Rusk, a tough and complex role for an actor of any age. Most of all I love Amanda Plummer – the character is good enough, but she automatically makes ANY character that much better. She turns up and I’m usually ready to keep glued to the screen. She does not disappoint, and her final showdown, warring with neighbour Wilma (Valri Bromfield) is so satisfying in a morbid way that you’ll have trouble not cheering a little. Don’t worry, I did. So we’re both sick fucks. If the acting weren’t so good then it wouldn’t be this hard to resist.

Visual callback to The Exorcist, as Polly (Bedelia) walks down a set of stairs and witnesses Alan (Harris) shaking hands with Danforth (J.T. Walsh). I’d never noticed that until this last time watching. Funny how that escaped me. Right now, it stood out so evident. Not in a hokey sense, but a stellar homage to William Friedkin’s supernatural, religious horror masterpiece. The movie isn’t built on homage. Not in the slightest. Everything else is pretty well shot. It doesn’t stop at the cinematography from Tony Westman. The entire flow of the film in its writing to the directing choices and the editing is a huge reason why everything works. Alone the way most scenes are edited together is good filmmaking, but better yet are certain scenes. For instance, when Brian (Shane Meier) is tossing the baseballs, then there are the flashback moments certain residents have as they make their dirty deal with Gaunt, among others.
Also have to mention the inclusion of classical pieces. I’m a huge fan of classical music, so it’s even better that the soundtrack here is used to such advantage. Beautiful, soul-filled pieces play over moments of wild destruction and violence. Always an interesting, effective juxtaposition.
Furthermore, in terms of writing, I find Richter does impressive work. A lot of movies insist that linear storytelling means you can’t move back and forth between moments in time. In a sense, yes. Many others prove that you can tell a linear story and also include plenty of non-linear aspects. What the screenplay here accomplishes is a linear plot that gives us 99% of the current story, then peppers in the whole cast of characters within that whole structure with their own histories. The overall story never gets bogged down because of how well the writing is adapted. Again, this is how Richter manages to fit all these characters into one two hour span without making a mess of things. The writing, the editing, the direction on Fraser C. Heston’s part, all comes together to make Needful Things a horrific bit of fantasy inside a story of intense human drama.

Another solid King adaptation. Lots of negative reviews out there. Although I’m totally in the other camp, this is a fantastic little movie. Not perfect by any means and a couple of the actors leave some to be desired. I can’t fault anybody in particular for not making the movie better. Needful Things is a good deal of fun. The story is one that could easily go epic in scope, instead King’s original novel takes that type of plot about the devil making deals with ordinary people for their souls and crafts that into a tale of corrupted innocence in a coastal town in Maine, bringing the scale down to a personal, emotional level. Sydow looms large as the Satan figure, Leland Gaunt, and everyone from Harris to Bedelia to Meier and Plummer all play their respective characters well.
I know not everyone will always feel the same. A typical story is done differently and done well with this film version. In a world of terrible movies made from Stephen King stories, let’s appreciate the ones that genuinely work. We get all the character, all the setting and the terror and the familiar macabre qualities of King, including some blood and psychosis along the way. If that can’t please you, nothing will.