For an introduction to the concept of 61 Days of Halloween, as well as a list of previously featured films, go here.
I’m well past the point of complaining about remakes based on principal alone, as a matter of fact, the same goes for sequels too. In part, the reason for that is that it’s sort of a myopic view of things. Throughout the whole of film history there have been series of films that refused to die as well as stories that either we (or the studios) have not grown tired of. Stephen King, as much of an institution as he is, is still with us such that it may seem that three adaptations in 39 years of the tale being in print is a bit much, especially when the writer is in question is not only alive but prolific.
However, as I said, some tales just have a way of sticking around (in the words of King himself “Sometimes They Come Back”). Therefore, invalidity cannot be assigned based on the existence of this third version alone. The second being a 2002 rendition that I needed to be reminded just recently was actually a thing that I’d forgotten about.
With regards to the text itself, I am not a huge, huge fan of the book. I like it fine. However, when Stephen King recounted that early on he was dissatisfied enough to throw out his manuscript and it was his wife’s salvaging it and belief in the story that had him stick with it; I was not surprised. And, of course, I’m glad she did see something there because the rest, as they say, is history. It’s just that from among his oeuvre it never stuck out as a favorite, and it makes me glad I didn’t read him chronologically for that may have had me go on to other things. Prior to continuing, I must preemptively state that much of my discussion of this film will read like comparative analysis and fanboy whining. However, I’m left with little recourse since the version created here reads so much like a copy of the first.
I do, however, share King’s own high regard for Brian De Palma’s version of the film. It’s a tremendous cinematic treatment of the tale that’s masterfully directed, but moreover, a lot of that success is due to Sissy Spacek and Piper Laurie’s portrayal as the mother and daughter (earning each an Academy Award nomination), whose relationship is scarier than anything supernatural that occurs in the book or film.
However, owing to the fact that film was released in 1976, and so much has occurred in the world, some things in the tale needed to change. Due to the supernatural element added to the tale, this was never a film that caused too much hullabaloo with regards to its depiction of violence in schools (this recent Variety opinion piece not withstanding). This was a book that though occasionally banned, was never cited as the impetus for violence as his brilliant Rage was (written under his nom de plume Richard Bachman). Keeping all that in mind, as well as all the horrific incidences of bullying and school violence in the intervening years since the original big studio release and this one, something had to be altered to make this truly effective to a modern day sensibility.
Now, that’s not to say Carrie had to be altered to a point of un-recognition, or be tasteless and tactless in rendition, but while the situation she’s put in (the infamous inciting incident) does engender sympathy it seems a mere drop in the ocean compared to the stories of real life occurrences. Granted there are two escalations of Carrie’s humiliation with regards to that incident, however, it feels it needs a bit more.
The incongruous and dated feeling that her humiliation gets is not aided by many production choices. In aesthetic terms the film feels stuck in many regards. While there are cell phones and an upload of the video to the internet some of the costuming (Miss Collins, the gym teacher’s attire) as well as the automobiles (all seeming to be of an older vintage) that had the film feeling stuck between a modern 1970s-set remake and an update that underscores the relative timidity of Carrie’s initial torturing. If anything the backward nature of the White house house should have stood out in stark contrast to the rest of the town.
Much of the discussion regarding the film and whether it works or not has surrounded Chloë Grace Moretz. If you look at my site you’ll see that in her breakout year she won my Entertainer of the Year Award. Clearly, I am admirer of her work in general. And where her involvement in this film falls short has more to do with production than anything on her part. The first thing that must be acknowledged is that all actors are artists, and the inclination of anyone remaking something is to put their own stamp on it. So expecting Moretz to reproduce Sissy Spacek’s turn is folly for a number of reasons, not the least of which is that you’re not casting someone to imitate someone else but rather for what they bring to the part. Considering she does have a past with horror, and vast experience, Moretz makes about as much sense as anyone. Things that were lacking with regards to building her performance have to do with editing (when it’d be more effective to see the results of what she’s doing rather than her reaction to it) but more often it’s actually in hair and make up. And I mean that in all seriousness.
There is a sequence of edits when the coach is trying to build her up and in some editing slight-of-hand she’s tidied so the barely-hidden, beautiful girl she is. The fact is more work needed doing to make Moretz seem more like a Carrie White than a Sue Snell. Her hair and dress both needed frumping up. It came off a bit too much like the glasses-and-a-ponytail gag in Not Another Teen Movie.
Yet the biggest flat-lining in the film is the rote repetition of the exact story beats almost exactly as they happened before save with more advanced but inconsistently rendered CG. The wrinkles were often good (the principal’s inability to say the word “period,” Maggie’s self-mutilation, Tommy playing lacrosse, etc.) but these are all small things and when so much of the film is precisely the same, but emotionally flatter; you need more. There are occasional moments of viscera at the beginning and end but far too much “meh.”
“They’re all going to laugh at you,” Miss White says. This version isn’t quite laughable, but I was not impressed this time around at all.