List | The Movie Rat

Film Discoveries (a.k.a. Best Older Film First Viewed in) 2023

Posted on February 1, 2024 by bernardovillela

Introduction

I decided to go with both possible titles for this list because while “film discoveries” is breezier I sometimes get too bogged down in the semantics of whether or not a film was truly a “discovery,” which could potentially eliminate a great film I saw for the first time despite the fact that I already knew of it. So there’ll be some commentary on whether or not I was familiar with a film, and for the more well-known titles I will explain why I might not have gotten to see it and how I finally did.

I also felt it was time to post this sort of list again because it used to be a staple on this site, and while I intended to do one encompassing the pandemic, but I never did. That despite the fact that I did have year-specific hashtags for newly viewed films on my Letterboxd page.

The titles are presented in no particular order. I didn’t disqualify any films from consideration due to its having recent release year, only 2023 titles were ineligible. Without further ado the films.

Mission: Impossible (1996, Dir. Brian De Palma)

As a kid I was aware of the original series, knew the theme song and concept, although, I don’t know if I ever caught it on Nick at Nite, but when the film came out it’s not something I made a point of seeing. After seeing a billion parodies of the famous vault scene I thought it had nothing else to offer.

As the years went by I did see later installments as they came out, not much if any information regarding previous films was necessary to follow and enjoy them. However, this initial film in the series has a lot of legendary talent involved like Brian De Palma directing, Robert Towne, David Koepp and Steven Zaillian on the screenplay, and a villainous turn from Jon Voight, make this not just another highly watchable ‘90s studio product but an exemplary one.

I viewed this film when it was on Netflix, it has since shifted over to Paramount+ and Amazon Prime.

Benny’s Video (1992, Dir. Michael Haneke)

Knowing of a film’s infamy is not the same as watching it. Not only is it harrowing and terrifyingly matter-of-fact but it eschews any and all impulses toward the sensational and exploitative and is instead contemplatively brutal and brooding as we’re left but to watch footage both diegetic and non-diegetic that illustrates cause and effect without vocalizing except in simplest terms without the character being able to fully comprehend his compulsion when we, over the course of the film, can.

I saw this film thanks to Criterion’s new release of Michael Haneke’s Trilogy from Criterion. Whether familiar with his work or not, I wouldn’t recommend doing as I did and watching all of these films in rapid succession.

Terrified (Aterrados) (2017, Dir. Demián Rugna)

This was a film that I flirted with seeing for a while on Shudder. When I finally watch it it was just before I saw When Evil Lurks (Cuando acecha la maldad). This film takes a fascinating approach at looking of paranormal events occurring in Buenos Aires by staring us smack dab in a police interrogation room, as the mystery of what the police and the people accompanying them want to know is solved more imponderable and horrendous ones unfold.

Black God, White Devil (Deus e o Diabo na Terra do Sol) (1964, Dir. Glauber Rocha)

At a time when a coup d’etat and military dictatorship were descending up Brazil this film, essentially a western set in the 1940s the lines between good and bad, god and the devil, bandit and victim are all blurred in a deliberately paced but nonetheless electrifying film.

I viewed this title on 35 mm at Film Forum, in a beautiful new restoration. Having never seen it prior I’m sure the new subtitles are far better than the original, but as a Portuguese speaker I found it unfortunate that the subtitles stripped some poetry from the song lyrics and even dialogue in the film

Which brings me to an additional point, this film was one of those that made me want to return to listing both English and native language titles as mentioned in my most recent post. While the English title is snappy and gives a glimpse of the duality and contradictions found within this film the original title literally translated God and the Devil in the Land of the Sun, aside from being poetic that touches on the allegorical elements of the film.

At current there is no news of a North American physical media release.

The Possessed (La donna del lago) (1965, Dir. Franco Rossellini, Luigi Bazzoni)

When a film is described as “proto-” of a given genre it is noteworthy by default but it doesn’t mean it is good by default, but this proto-giallo is captivating, atmospheric, well-rendered, and fans of the genre will definitely see the blueprint for later gialli here.

This was a film I was able to see thanks to the great Giallo Essentials box sets from Arrow Video.

Don’t Tell Mom the Babysitter’s Dead (1991, Dir. Stephen Herek)

This is one I think I saw a few select scenes of in the past but never saw the whole thing. As a kid when it first came out I didn’t want to see it because I was not yet truly familiar with the concept of a dark joke much less a dark comedy. Not that this one is textbook dark comedy, but that’s just an illustration of my naïveté at the time. I saw the beginning of it the morning of December 23rd but last minute food shopping for a holiday gathering needed doing so I saw it from the beginning, all the way through, that night on HBO Max.

Questions about how Sue Ellen lied to payroll at her employer notwithstanding, it is quite a funny, irreverent film that’s sadly not entirely irrelevant in its handling of women in the workplace.

El Pico 2 (1984, Eloy de la Iglesia)

Severin Films with this release introduces me to the subgenre in Spanish cinema known as Quinqui, which emerged in the 1970s and dealt with drug addiction and delinquency. De la Iglesia’s work deals with the aforementioned topics and homosexuality in Spain in a more blunt and compassionate manner than many of his contemporaries. These films also feature a touch of neorealism casting many who were not previously actors but who turn in marvelous performance in part because these things are true to their lived experiences, most notably the lead José Luis Manzano.

The capstone of de la Iglesia’s Quinqui trilogy offers the most well-crafted, complete, and emotionally rounded look at this circle of characters whose struggles were followed. Flashbacks are incorporated organically and completes a tough to watch but artful and affecting saga.

Your Vice is a Locked Room and Only I Have the Key (Il tuo vizo è una stanza chiusa e solo io ne ho la chiave) (1972, Dir. Sergio Martino)

This was a film I was able to see thanks to the great Giallo Essentials box sets from Arrow Video. It possesses one of those titles that make you either love or hate the genre and the setup is one that can be described similarly: a rash of murders breaks out at the estate of a debauched, abusive writer and his wife. As always with Martino the visual style of the film is as gorgeous as the story is twisted and suspenseful.

Nancy Drew…Reporter (1939, William Clemens)

I DVRed some Nancy Drew titles for some light fare to watch when there was a TCM bloc of them in honor of Bonita Granville’s birthday a while back. I got to watching a few and still have a few more to go. The movies are generally fun and brisk, however, this one worked a little better to me because it’s funnier and all the characters function better within the stories framework and the actors more comfortable playing said characters. Comedic boxing scenes are always a winner.

The Venus of Ille (La Venere d’Ille) (1981 Dir. Mario Bava, Lamberto Bava)

The Venus of Ille (La Venere d’Ille) (1981Dir. Mario Bava, Lamberto Bava)

This was horror legend Mario Bava’s final film and a collaboration with his son Lamberto, an accomplished director in his own right. It was produced to air on Italian television as part of an an anthology series called The Devil’s Eyes (I giochi del diavolo). It’s based on an 18th century short story by Prosper Merimée, while the inspiration is older text its interpretation of the star-crossed infatuation with a statue is infused not only with Bavas’ treatment of the Gothic but also a touch of French New Wave as one scene mirrored Jules and Jim (Jules et Jim).

Mel Brooks’ History of the World, Part I (1981, Dir. Mel Brooks)

Not sure why I have Mel Brooks blindspots still, but I do and this was one. The weird thing about finally viewing it was I watched it in order to then see the sequel series (not that I’d be confused, it just wouldn’t feel right) but then I didn’t watch the show.

It’s not Blazing Saddles, but it is pretty funny.

Remembrances of Laughs Past

Posted on August 4, 2023 by bernardovillela

One of the many things that the death of Paul Reubens brought to mind was that he was the author of one of the most iconic and hysterical scenes I watched in my childhood, one of those rare moments where I can still remember how hard I laughed first witnessing a bit or sequence in a movie. With that in mind I compiled a list of some memorable (to me) comedic sequences that left their mark on me.

“The Lady I Know” at Comic Relief 1990

Barroom Scene in Pee Wee’s Big Adventure (1985)

The tent scene in Austin Powers The Spy Who Shagged Me (1999)

The Fight in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)

The Boxing Match from City Lights (1931)

The entirety of The Music Box (1932)

The square dance in Hillbilly Hare (1950)

https://www.youtube.com/watch?v=TohpTuYWojI

Favorite Film Discoveries of 2016

Posted on February 14, 2017 by bernardovillela

Introduction

This is an idea I first saw on Rupert Pupkin Speaks wherein he lists his favorite “new-to-me” titles of the prior year. My viewings were down in 2016 overall but there were things worth noting, even things that were not brand new. Some are rather short and can be viewed in their entirety below. For those who prefer features and talkies those can be found toward the end of this post. Enjoy!

Shorts

Many of the older films I was able to see for the first time last year that left an impression on me were both silent and short. The first two are archival shorts of Native Americans.

Sioux Ghost Dance (1894)

Buffalo Dance (1894)

Many of these short silents inspired me to start on a theme commemorating film firsts. Here is the first time the Statue of Liberty was filmed.

Statue of Liberty (1898)

Demolishing and Building Up the Star Theatre (1901)

Pan-American Exposition by Night (1901)

https://www.youtube.com/watch?v=E1JsASQZd4k

Georges Méliès almost always makes an appearance.

The Temptation of St. Anthony (1898)

https://www.youtube.com/watch?v=WlMiJbGESCw

The Execution of Mary, Queen of Scots (1895)

https://www.youtube.com/watch?v=BIOLsH93U1Q

Now, a short film by Mike Leigh. I need to see the rest of these five-minute titles.

Five-Minute Films: The Birth of the Goalie of the 2001 F.A. Cup Final (1982)

Faces of November (1964)

John F. Kennedy Jr. Saluting His Father at Funeral

I got and saw the Kennedy films set from Criterion. Two of them made enough impact to land on this list. One dealt with the aftermath of the assassination.

Karin’s Face (1984)

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Any newly seen Bergman is worth noting even if it’s shot that is a study in stills and dissolves focused on his mother’s face.

Features

City of the Dead (1960)

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As much as this film relishes the artifices of more classical horror techniques its rooting itself in historical precedent and wanting to carve a fictional enclave amidst historical happenings is highly commendable indeed. One might watch this film and consider it to be dated. However, with older films that is a conversation that is mostly moot to me. All films are created for the times in which they exist, even ones borrowing older techniques. Timelessness is an alchemistic accident that cannot be manufactured.

Primary (1960)

robert-drew-primary-mic

Also in the Robert Drew & Associates box set from Criterion is a feature called Primary which focused mostly on Kennedy’s campaign to try and win the Wisconsin primary.

Kamikaze 1989 (1982)

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“This is a film that stands as a unique statement on an artistic level. It’s being set but seven years in the future, whence the Berlin Wall would fall, also gives it a curious undertone that it likely didn’t possess upon its initial release. It societal relevance may be more culturally relativistic than some other films, but its function as allegory seems as it could spring eternal with increased intensity based on the changing tides of the world’s sociopolitical currents.”

Antonia’s Line (1995)

antonias-line-hero

“As if this film needs more accolades it is indeed one of those Academy Award winners that quote, truly deserved it, unquote. It’s a film that’s so good that I find it nearly an affront to it to discuss the feminist merits of it in the context of a standard review. Watch it, you’ll know what I mean. It’s spectacular.”

Stephen King Properties Awaiting Adaptations: Novels

Posted on September 21, 2016 by bernardovillela

Introduction

I’m rather sure that this is the list in this series that most people have been waiting for. Stephen King’s novels be they gargantuan or modestly sized are where most know him from, and it’s where most of his noticeable unadapted works reside.

And as I planned on completing this series on his birthday; Happy Birthday, Mr. King!

Omissions

With King being so prolific, so many means of adaptation, as well as phases of production there are quite a few omissions:

One note about this list is that since The Dark Tower is in production, I have omitted those books from this list, clearly the idea is to start with The Gunslinger and proceed from there.
The Colorado Kid, Under the Dome, and 11/22/63 having been morphed into TV series are also exempt.
Titles currently in any stage of development are excluded namely: Rose Madder, Mister Mercedes (TV series, as well it should be), and Lisey’s Story.
Although it’s no guarantee there was just an announcement made that Mike Flanagan is developing an adaptation of Gerald’s Game for Netflix, so I’ll be optimistic and assume that happens, so I’ll skip on it also.
I include Black House in the section on The Talisman. However, with it being a sequel to the the latter I cannot imagine it going first for obvious reasons.

7. Insomnia

Stephen King wrote, in On Writing I believe, how with all due apologies to his fans who enjoyed it, Insomnia was one of the books he didn’t consider to be very good. Aside from the occasional brilliant image, which would be useful in a film version granted, I don’t see much cause for this one to be adapted, and am not surprised it hasn’t been. However, if the old adage of a bad or mediocre book making a great movie maybe it’s a nut someone can crack when no options remain, and Hollywood is still refusing to buy an original screenplay.

6. Duma Key

Inasmuch as it also deals with paintings that’s where I see a similarity between this and Rose Madder. Why I place Duma Key slightly higher (than Rose Madder would’ve been) in the pecking order is that merely the fact that this is a more extroverted and cohesive effort making the transition in medium easier.

5. From a Buick 8

This is Stephen King’s other car-related novel but is nowhere near the fantastical end that Christine was, and perhaps that’s why it’s not been looked at as a possible film yet. I wouldn’t mind seeing it but as you can tell, I have quite a few ahead of it.

4. The Girl Who Loved Tom Gordon

A few personal items here in the interest of full disclosure (non-sports fans can go down past the photo): one I am a Yankees fan, and as such the only King book I never read is Faithful his collaboration with Stewart O’Nan that chronicled the Red Sox breaking of The Curse of the Bambino. Not that I begrudge them having won in principal, and as a writer I wished my teenage self had chronicled the New York Rangers ending the curse of 1940 (something I felt in my bones would happen in the preseason), but it was the fact that it was against the Yankees, and overcoming a 3-0 deficit (a comeback I also felt coming), that I skipped it.

Once upon a time I considered The Girl Who Loved Tom Gordon part of The Curse no one much talked about. Just after the book came out in April of 1999, Gordon only pitched 17 more innings in a Red Sox uniform. He had elbow issues and ultimately needed Tommy John surgery. Missed all of the 2000 and was then let go by the Sox. Coming full circle on the Curse he was on that Yankees team that lost to the Red Sox.

Tom (Left) and Dee Gordon.

The book tells of a young girl gets separate from her parents in the woods, something may be following her and she relies on her wits and her imagined version of Red Sox star Tom Gordon to help her. The set-up is fairy visual even with all the inner monologue in the story, it doesn’t necessarily need a lot of dialogue and much of that can be externalized or turned into visuals. I’m not sure if it’s the specificity of the title (like that stopped The Shawshank Redemption from making the title more marketable by leaving Rita Hayworth by the wayside) or the fact that interest may be limited in a fictional version of a relief pitcher. It can work. Now it’d have the added bonus of being a period piece. And who knows maybe Tom’s son Dee, also a Major Leaguer, wants to give acting a shot.

4. Joyland

Any amusement park or carnival them in Horror has a certain amount of visual potential, add a ghost and an unsolved murder into the mix and it could have even more. What it is prone to would be a touch too much cinematic cheese and/or a dampened impact by virtue of a non-traditionally unsettling setting. Still I would like to see someone take a stab at this because for every Funhouse, where the atmosphere doesn’t help it much, there is a Goosebumps or Zombieland that uses the locale expertly.

3. Doctor Sleep

I love the idea of a film based on Doctor Sleep. However, there’s no gimmickry that would work to tie it in to The Shining in my mind. You can’t really parallel it to the Kubrick version or the mini-series in any kind of way that would work, nor do I think producing it as a tandem of new films with a new version of The Shining before it would work either.

The most I can say about making it work in a cinematic context is to have a really good casting director look at Danny Lloyd, see who may

2. The Talisman

Though I chose this as my number two selection, I am far more baffled by The Talisman not having been adapted yet than by any other King title. It is one of my earliest reads, one of my favorite books, and one I know has passed through more than one option: none other than Steven Spielberg has this in his docket and some point.

The narrative is lovely and simple, the magic seems real, and one of King’s greatest protagonists abounds. And while it was rumored a while ago, CGI technology has clearly advanced far enough to hand the fantastical elements of this tale. I have nothing but praise for this as a possible adaptation.

As for the sequel Black House, clearly it can’t happen before The Talisman. Not sure it will but it would be amazing if, in an ideal world, if there was a long layoff between The Talisman and this. Maybe even retaining original cast members like whomever is cast as Jack.

1. The Eyes of the Dragon

It’s a wonder, it can get under your skin, yet is a fairy tale the likes of which you might actually read aloud to your kids. And as opposed to the runner-up it’s not a leviathan page count tale. There clearly is no good reason to my mind why this has not happened yet. With Dark Tower films would there be enough of a lull to have casting crossover as well? McConaughey as Flagg? Alright, alright, alright. Idris Elba as King Roland? Hell, yes!

King Properties Awaiting Adaptation: Short Stories

Posted on September 20, 2016 by bernardovillela

Introduction

Please note that films based on short story in any stage pre-release that are confirmed are excluded be they in postproduction, production, pre-production or announced. For a handy reference I suggest you check the IMDb. Now, ferreting out which stories have had releases with public screenings or direct-to-video release because of the existence of the Dollar Baby.

Dollar Babies are short stories that Stephen King allows to be optioned for one dollar ($1) to student and amateur filmmakers for use in the festival circuit only. It’s a great program of giving back and a hand-up to filmmakers.

I was fortunate enough to have entered into a Dollar Baby agreement with Mr. King in 2005. In my final semester I sent out a few inquiries about adaptation rights, the other one or two were cold. Upon his website adding a messaging function I messaged to see if there was any truth to the rumor that this non-exclusive non-commercial rights program existed. His assistant responded saying it did and that I need only pick a story from a given list, write a proposal and send it to the address she disclosed.

The letter was mailed on a wing and a prayer, but once I got a fat envelope at home with a Maine return address and no sender’s name, I knew what it was and that one of the highlights of my life was about to occur. Enclosed was a contract, one that I’ve never had any problem sticking to and am baffled that so many on the internet scoff at because they “really need to see something.” For years I, my producer, and some cast and crew members withstood badgering for submission to a film festival where only Dollar Babies were screened. It’s great to have your film desired but we knew for a fact that said individual, who shall remain nameless, was not to be trusted with a copy of the film as he had been known to illegally distribute them. It was my name on a contract alongside that of my idol and if my movie got out there where it shouldn’t be I was the one who would look unprofessional.

All that aside, my film Suffer the Little Children was a long but rewarding journey, and an education. Thankfully, audio issues were cleaned up and we eventually started getting acceptances and even some prizes.

The film’s mission was complete. Mr. King has been quoted as saying he still grants professional project rights for a dollar and points on the back end, plus, certain exclusivity, which is why this a list I was rather looking forward to writing.

Selections

I included short stories and novellas into the same category.

There are a few titles I felt should be excluded entirely though for almost entirely personal reasons and I will comment on them now.

First, I believe that there will never be a good reason to adapt “Heavenly Shades of Night Are Falling” from Hearts in Atlantis, despite its beauty. The reason for this is that it deal with Bobby Garfield as an adult coming home and reminiscing. The cinematic version of Bobby Garfield, Anton Yelchin, died tragically this year. As such, I feel the chances for this story to be adapted did too. The persistence of Yeltsin’s career from childhood through early adulthood made him the ideal candidate to reprise his role many years later. It’s a dream deferred sadly.

The only other titles I’m excluding are “The Things They Left Behind” and “Graduation Afternoon” as they are 9/11-related stories. Previously I wrote of my own 9/11 story in passing in part to discuss the literal use of it on film, few instances of which I’ve seen. As effective as these stories are in text transposing them to feature length films would change the nature, spirit, and intentions of the stories too much for them to remain wholly tasteful.

As for the things I did select, I will not put them in any kind of order but instead divide them by collection.

Night Shift

I Am the Doorway

Most of Night Shift has already made appearances on film, but usually as shorts in Dollar Baby adaptations.

I am the Doorway is a memorable, eerie tale that deserves a feature length take. Horror and space can and should co-exist and this tale would be an excellent vehicle

Skeleton Crew

Survivor Type

Being stranded on a deserted island is not an unusual cinematic motif, but it’s not one usually employed in the horror genre, which is a unique attribute that Survivor Type would be able to bring forth.

Four Past Midnight

The Library Policeman

While Sun Dog once upon a time was optioned by Frank Darabont and nothing ever came of it, but this has always been and always will be my favorite story in this collection. It blends together a lot of different things like real-world terrors, ghost-like apparitions and creatures using a host body. It’s also another one of King’s greater characters in Sam Peebles. Not only that but additional dovetails into this story in other works may allow for some closure to be felt.
Hearts in Atlantis

Why We’re in Vietnam

As opposed to the Hearts in Atlantis tale that I do not believe can be adapted due to casting issues in this one, which focuses on Sully’s experiences in Vietnam as he reflects on them following a funeral could be portrayed with a new actor in the lead.

Everything’s Eventual

Little Sisters of Eluria

It would be a little way down the line but if the Dark Tower cinematic franchise continues I’d love to see this folded in wherever possible. It may not be easy to find room for it but there are great visual opportunities within.

Autopsy Room 4

This is one that Stephen King based on an old short story, which became a classic episode of Alfred Hitchcock Presents and one I’m sure could be made to work on the silver screen.

Just After Sunset

A Very Tight Place

In his work on the horror genre Danse Macabre King said:

“I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I’ll go for the gross-out. I’m not proud. ”

This short story is the best example of this I’ve ever seen. It is perhaps the grossest short tale I ever read, and thus still excels beautifully. The claustrophobia of this tale would be a hard work-around for a film concept but it could definitely work with some creative thinking.

Full Dark, No Stars

1922

This is a marvelously harrowing tale that also being a novella should have sufficient content for a feature film and would make a great one. The frame is built-in the dynamics are mostly interpersonal, and thus, it excels in the horror of the known as opposed to that of the unknown.

Bazaar of Bad Dreams

With this being King’s most recent collection it stands to reason that most of these stories have not been picked up yet. However, there are three that particularly stand out and I would not be surprised if we didn’t see them adapted soon.

Obits

This is King’s homage to the 1950s horror film I Bury the Living. With it being a modern take on the notion of controlling deaths, and with what he feels is a more effective conclusion than the film saw this would be ideal for an adaptation.

The Little Green God of Agony

This is a weird little tale that would need somewhat more than a shoestring budget to take its conclusion out of the realm of The Langoliers, but there is definitely room for expansion.

The Bad Little Kid

In a story that follows through on one of his themes of the persistence and omniscience of evil it could be a great film, as there is already plenty of material and a chilling conclusion. Also, as this story was originally only published in German, it’d be interesting to see dueling adaptations here as well, with the German version getting a little more creative leeway to make it a domestic tale via transference of location.

In the Tall Grass (Kindle Single with Joe Hill)

This is one of King’s (and Hill’s) most hair-raising pieces of fiction that gave me a Children of the Corn vibe and left me wanting much, much more. It is highly recommended.

King Unadapted Works: Desired Remakes

Posted on September 18, 2016 by bernardovillela

Introduction

One of the most fallacious complaints in film fandom is the “we don’t need a remake of such and such.” When you look at such statements with merciless logic you realize we don’t technically need any movies. Modern man survived in excess of 1,800 years without them. Another piece of that logic is that a remake or sequel can somehow expunge the immutable. There’s an inherent inclination in humanity to embrace the current and the new, which I believe is why nostalgia exists, in part, because those old enough to remember different times want to embrace part of their experience.

Older films should be seen and studied but the societal emphasis on classicism is as archaic as classics themselves. Those with long cultural memories, longer than their time on Earth even, will always be a niche.

One way in which remakes can be of service is to update the imperfect, flawed, and terrible films of the past. This can be especially useful in adaptations, in which fans of the written work are over-sensitive or when the adaptation is truly painful. Here are the five Stephen King properties that could most benefit from a new take:

Apt Pupil

When I wrote a post about seeing the movie before reading the book I wrote this of Apt Pupil:

This story as written is outstanding. Yes, the cast remained the same but the story delves into the psychology of the situation in ways the film scarcely attempts. You should read it.

The Nazi/kid stand-off never gets the payoff here that it does in Singer’s take on X-Men. That’s a great motif that this movie hinges on, and it is kind of flat. As is the whole aside from Ian McKellan.

Not to mention that this particular film has with it two associations that make it distracting. The first being Bryan Singer’s first on-set controversy and the second being one in hindsight as its star, Brad Benfro, would die of a heroin overdose about 10 years later.
Gramma

When I heard that Gramma was going to be adapted into a feature length film, I wrote a whole post about it and performed a rare re-read. The cast was well in place and it had potential, but, as is too often the case when the premise was expanded and externalized things got a bit stupid towards the end, as evidenced by my review.

When taking those factors into consideration, it’s not a wonder I want there to be another go at this story, even though I find it unlikely that it’ll happen.

The Langoliers

When I wrote a post about seeing the movie before reading the book I wrote this of The Langoliers:

Augmented by having seen it first in part because I love the mini-series up until the very end. It’s like King says, the story just falls into place so smoothly and that translates on to the page and the mini-series is great until one of the worst third act blunders, and effects shots ever.

It’s a lot to remake a whole mini-series for one shot but it’s literally all the movie is leading up to, and even by standards of when it was made the shot, was crap. Sure, Bronson Pinchot won’t really be replaced but the whole of the cast and the story may be upgraded by a fresh take and a shorter running time.

Christine

I had the honor of meeting John Carpenter at Monster-Mania when he went and I took this picture with him:

His Q & A panel was humorous, insightful, inspirational, and as appears to be the case with Carpenter when speaking very forthcoming. He confirmed what I suspected in my gut when I saw Christine. He was assigned the script, not quite knowing what it was, was disappointed it was about an evil car, but he took it because it was a job and he needed work. He never really liked the movie. And neither did I, not by a long shot. There wasn’t a hint of subtlety in Keith Gordon’s Arnie and the car as accurate and gorgeous as it was didn’t work on screen as it did in the book. A book wherein I was beside myself as I found it brilliant and captivating even while feeling the premise ludicrous, and it is until you read it. All the talent in the world won’t translate that intangible to the screen if you’re not chomping at the bit to transform that tale and it never saw an adaptation like that.

Desperation

As mentioned in my Bachman books post, I’d love to see Desperation remade only for the fact that I’d love to see it and The Regulators come out as a tandem in a similar fashion to the books. As for the version of Desperation that exists I was surprised by how much I enjoyed Ron Perlman in the film, and I liked how humorous it was, though it read as more terrifying to me. The only true disservice in the writing of the screenplay is in its treatment of David Carver and his religious inclination.

Stephen King Properties Awaiting Adaptations: Bachman Books

Posted on September 17, 2016 by bernardovillela

Introduction

It recently occurred to me to consider the Stephen King works which are not yet films and which may be most suited for adaptation. I will take this task on in separate posts.

The Running Man and Thinner already exist, so the books in this realm where Stephen once wrote under a pseudonym on rainy days would rank as follows in my estimation:

5. Rage

Last year I acquired the original release of The Stand from 1978, that runs quite a few hundred pages shorter. With that I no longer have any literary white whales. The first one I had was Rage, and it took me a while. I didn’t acquire The Bachman Books when they were still readily available.

After much searching in the days before online shopping was easy, I just happened to see it on the shelf at my friend’s house. I freaked out. I needed to at least borrow it. He voluntarily gave it to me.

It remains the only King book I read in a day. Time and distance from being angered by feeling the need to pull it from print have given King a good perspective on the story independent of the controversy its caused. He discusses it in Guns, and I agree entirely with his take.

While I feel The Long Walk is just detached enough from reality to connect to modern audiences this one hits a little too close to home. It’s truly a wrenching, fascinating, and brilliant work. Sometimes we just can’t have nice things, or in this case nasty things that make you think.

4. Blaze

This one that would be a challenge in similar ways to Roadwork (below). However, with all the different interpretations of mental illness and voices in people’s head that exist in movies there are quite a few interesting ways to go about this one.

3. The Regulators

My impression of The Regulators may have been affected by the fact that I read it long after I did Desperation, which was my introduction to Stephen King and had me hooked as a Constant Reader from there.

I think the best way to make this idea work would be to translate the concept of the book’s companionship to the screen, which would entail a remake of Desperation and have the same cast play very different parts in the dueling films. It would be fascinating to watch, especially if you had the same creative team behind-the-scenes.

2. Roadwork

While I had to use some analytical chops to grin and bear it as I placed a title that was not my absolute favorite in a subset as number one I will start lobbying for my favorite by saying: a story a solitary man who loses it as he refuses to accept a buyout so his house can be bulldozed to make way for a freeway is not a high concept. It’s an insular one, with a lot of inner monologue and flashes. That’s what I love about it and the challenge of it is intoxicating. In my informal independent study during film school I took upwards of 30 pages of notes on how exactly I would translate this story to the screen.

It was in that note-taking, and practice attempts with a tales by Lovecraft, King, and Lumley that I formed an adaptation style that aided me in writing and directing a Dollar Baby of Suffer the Little Children I was fortunate enough to be given the permission to work on.

So, yes, there is a soft spot that elevates this one, but if you haven’t discovered it yet you should.

1. The Long Walk

I place The Long Walk first not because it’s my favorite Bachman title, but despite its violence, it’s the one I’m most surprised that has not been adapted. It’s an indie film budget’s dream. The concept is a simple dystopian premise that’s far more likely to be palatable to today’s audiences than it would’ve been in the 1980s.
Postscript

Kirby McCauley, King’s literary agent, posed as Richard Bachman for author pictures.

When Blaze was released in 2007 it was branded by King as a “trunk novel” meaning it was an old Bachman title he unearthed and edited for release, while still using the pen name. I hope there are more.

When recently J.K. Rowling’s pen name of Robert Galbraith was outed it was kind of like Déjà Vu. I’ve read of how pissed Stephen was when Bachman was found out, and I empathized with Rowling as well. Though clearly the revelation that Rowling was Galbraith inevitably spiked the sales of the first book in Cormorant Strike series, and all subsequent releases – it’s clear there was a reason she felt the need to write under a pen name and now that freedom from name, fame, and expectation is gone from both of them. I admire her not giving it up and I hope Steve still knows what Richard’s up to.