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‘Stephen King’s IT’ Is Dated but Not Toothless

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Editor’s Note: This article was originally published on September 8, 2017, but for obvious reasons, we’ve decided to spotlight it again. 

With the release of the new, big-budget adaptation of Stephen King’s IT, attention is invariably turning to the previous attempt at bringing King’s gargantuan novel to the screen: the 1990 miniseries. The original IT is mostly remembered for Tim Curry’s performance in the role of Pennywise, the sinister clown that terrorizes the children of Derry, Maine. Curry’s Pennywise can often be found on lists of the most iconic horror characters of all time, and it would be easy to assume that without this one element, It would most likely have fallen into the same obscurity that many of those King miniseries now find themselves in, and as the number of people who’ll be watching the 1990 version before flocking to catch the new adaptation are finding out, the original It isn’t actually that good. It’s not exactly bad, but aside from one memorably over-the-top performance, it’s ultimately still an above-average early 90s miniseries.

The story takes place (as the vast majority of King properties do) in a small town in Maine, and something is targeting the local children, in particular, the group of outcasts and misfits dubbed the Loser’s Club. But rather than a run-of-the-mill serial killer, the entity leaving a trail of dead children in its wake is Pennywise, a sinister clown with supernatural powers and a thirst for blood. With the adults seemingly blind to Pennywise, the Loser’s club must band together to put a stop to his reign of terror, and then meet again thirty years later when their old nemesis returns.

Stephen King's It 1990 TV Series

It’s place as a beloved horror property — or at least a fondly remembered one — can largely be attributed to one element: Tim Curry’s Pennywise. To be sure, it is a memorable performance, full of the kind of enthusiasm and gusto that Curry made a name for himself with. To what degree you’re bound to find Curry’s character actually scary depends a lot on how you feel about clowns. If coulrophobia isn’t something you suffer from, it’s very likely that Curry’s antics, dripping with camp from start to finish, won’t do much to send chills up your spine. Then there’s the infamous ending, which sees Curry’s Pennywise drop away in favor of a giant spider creature, ostensibly his true form. Full credit to the effects designers — it’s a great looking effect, but it’s also completely devoid of subtlety, substituting the sinister, unsettling vibe of much of the series for a big monster in a surprisingly well-lit cave. Luckily for IT, there’s a deeper horror lurking under the surface, but more on that later.

When Curry isn’t onscreen, which is the vast majority of the time, the series rests solely on the shoulders of the cast and production staff, who usually strain under the weight. In a surprising twist, the child actors who portray the Loser’s Club in their initial encounter with Pennywise vastly outshine their adult counterparts, whose performances generally leave a lot to be desired. Even usually dependable players like John Ritter fall short more often than not. The inadequacies of the adult actors are made somewhat worse by the fact that the second half of the series is notably weaker than the first, with the atmosphere undone by too many montages set to upbeat music.

The production staff, including director Tommy Lee Wallace, also don’t do much to stand out. Wallace’s direction is fine, occasionally capturing a spooky atmosphere, but for the most part the direction in IT feels like exactly what it is: flat, by the numbers TV direction typical of the time period.

So if Pennywise isn’t that scary and the formal aspects of the 1990 production aren’t that interesting, what is there to IT in the end? The series’ best moments, the ones that almost make it worth sitting through all three hours, are the moments of true horror scattered in between clown attacks and the giant spider finale. The Losers Club, like so many child protagonists in horror properties, are the only ones who can see Pennywise and all the aftermath of his antics, but IT throws a twist into this tried and true formula. Horror fans will doubtlessly be familiar with this scenario: during a moment alone, one of the protagonists will see a horrifying vision, in this particular case an explosion of blood from a drain or a family photo album. They’ll run and grab their parents, only to return and find everything normal. What they saw was a vision, a hallucination. IT throws a curveball in this formula by having the blood, creatures, and other terrifying manifestations stay around when the adults are in the room. These aren’t visions or hallucinations, but reality — a reality that adults have trained themselves to overlook.

Stephen King's It 1990 TV Series

Why does this matter? Because the true horror of IT isn’t the scary clown or the giant spider — it’s the willingness of societies to look the other way when something is clearly wrong. There’s a key scene when Bev, the only female members of The Loser’s Club, recalls being attacked by the neighborhood bullies. A man across the street sees this happening, and rather than intercede, he quietly returns to his house. It is about what happens when people become so used to cruelty and horror that they train themselves not to see it, to look the other way when presented with something clearly harmful. It’s about the normalization of the abnormal, about the seductive power of willful ignorance when the alternative — action — puts oneself at risk. Look at Henry Bowers, the local bully who’s clearly a dangerous sociopath to anyone who pays attention. What is he, if not just another Pennywise? He’s a problem that everyone looks past because trying to fix it is harder than ignoring it.

Admittedly, this far more interesting aspect is something native to King’s novel rather than something concocted by the makers of the series, so we can’t credit Stephen King’s IT with bringing this particular aspect to the table. We can, however, be grateful that this crucial element was preserved rather than putting a focus on the much shallower horrors of scary clowns and giant spiders.

Watching the 1990 IT, it becomes clear that a second stab is needed to really plumb the depths of the novel and do it justice, as there is a lot of interesting material to be mined. In addition to the more interesting commentary on societal apathy, there’s also King’s dabblings with cosmic horror, something the miniseries pays the barest of lip service to. By the sound of things, Andrés Muschietti has presented us with a far superior version of King’s novel. Does that make the 1990 version obsolete? No, not entirely. Tim Curry’s performance, campy as it is, is still fun to watch. But apart from that element, it won’t be hard for the upcoming second attempt to overshadow its predecessor in most regards.

Beginning as a co-host on a Concordia TV film show before moving on to chief film nerd at Forgetthebox.net, Thomas is now bringing his knowledge of pop-culture nerdery to Sordid Cinema. Thomas is a Montrealer born and raised, and an avid consumer of all things pop-cultural and nerdy. While his first love is film, he has also been known to dabble in comics, videogames, television, anime and more. You can support his various works on his Patreon, at https://www.patreon.com/TomWatchesMovies You can also like the Tom Watches Movies Facebook page to see all his work on Goombastomp and elsewhere.

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‘Rojo’ Takes Carefully Composed Aim at Argentina’s Murky Past

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Getting off to a creepy and crackling start, Benjamín Nasihtat’s Rojo can’t quite live up to its opening promise while admirably trying to navigate a muddied maze of vague suspicion around a small town in Argentina during the 1970s before the coup. Still, though the story bumps into a few dead ends before finally emerging into some light at the finish, exquisite compositions — punctuated by occasional bursts that mimic the time period’s cinematic style — and a quietly simmering performance from star Darío Grandinetti manage to keep things engaging enough throughout this low-key thriller.

Rojo vacation

After a mysterious opening shot in which an abandoned house in a pleasant neighborhood is calmly looted by various locals, Rojo directs our attention to a cozy, upscale restaurant where respectable lawyer Claudio sits alone, waiting for his wife, courteously acknowledged by other similarly well-off patrons. He draws the ire of another customer, who abrasively chides Claudio for occupying a table when he is not ready to order, thus depriving those who are. Pretending to take the higher road, Claudio gives up his seat, but can’t resist also giving this rude young man a lecture of his own — one that despite its refined vocabulary, smacks of hostile superiority. From there, an altercation ensues that will not only haunt Claudio for the rest of the film, but also stand for a certain societal rot that took over a country.

The sequence is chilling in its callousness, the way in which a person is removed from a restaurant — and a community — with nary a blink of an eye; soon, everyone is back to chattering away, enjoying their meals as if a mere pest had entered and was quickly shooed away. Beneath their civilized faces, however, their are subtle signs of deep unease. Rojo expertly creates a tension here that it will then go on to very slowly dilute, as more and more tangents are given prominence in an attempt to reinforce already clear themes without shedding new light on them.

Rojo locker room

The paranoia and guilt lurking beneath nearly every interaction in Rojo serves to bring attention to the various disappearances that take place and are alluded to throughout the story. That fear of being “disappeared” without a trace is a clear reference to the “los desaparecidos” — political dissidents from the era who either fled the country or were kidnapped and murdered in the wake of a military coup that wanted to silence opposition. The premise that one can suddenly say the wrong thing and summarily be erased from society while everyone looks the other way is an inherently scary one, and that pervading atmosphere goes a long way toward making Rojo highly watchable.

However, once the general idea is firmly and skillfully established, Rojo seems to have little place else to go with it. A subplot involving selling the house from the prologue is mildly interesting in how it portrays the opportunistic behavior that capitalized on atrocity, but the process eventually fizzles out. American rodeo cowboys pay a visit, alluding to U.S. involvement during the coup, but not much else. A trip to the beach perhaps shows a bit of the pressure that gets to those who have had to turn a blind eye for so long, but little else is garnered outside a stylish depiction of a solar eclipse that washes the screen symbolic red. A teenage romance seems like it’s reaching for something important to say about dominance and jealousy, but can’t come up with more than another disappearance — and of a character who might as well be a nobody regardless, for the few minutes they are on screen.

A missing doctor, a magician’s act, a church confrontation; the power of the vanishings is undermined somewhat by their frequency. But maybe that’s the point — that we all can be desensitized to injustice.

Rojo teens

Still, whether or not one finds meaning, it’s hard to take one’s eyes off such gorgeously composed images as Nasihtat has crafted here. Though its plot often seems to lack focus, Rojo still emits a feeling of pinpoint exactitude through pictures. Nearly every frame is a joy to examine, creating a palpable sense that angles and staging have been meticulously prepared to convey important information key to unlocking the script’s mysteries. Restrained use of zooms and freeze frames also help inject some period style into the proceedings, and can be effectively startling. Holding it all together though is the repressed performance of Darío Grandinetti, who masterfully finds the quiet fear and hypocrisy in a certain kind of ‘upright’ citizen. As the various pressures grow (including from a big-city TV investigator played by Alfredo Castro), will he be able to hold it together?

The payoff is a bit anti-climactic, but Rojo has already been trending that way since the beginning. Nevertheless, it does conclude on a more explicit note, and there is a great visual pleasure to be had from simply watching this story unfold in such sharp, capable filmmaking hands.

‘Rojo’ is now available on digital formats from 1844 Entertainment.

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‘Queen of Hearts’ is a Frank and Difficult Look at Sexual Desire

Trine Dyrholm is typically brilliant in Danish film ‘Queen of Hearts’ — playing an older woman embarking on an affair with her stepson.

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Queen of Hearts

Queen of Hearts starts with a rather banal scene. Anne (Trine Dyrholm) walks through the woods with her dog. Her children are just outside her large, glass-heavy house. She goes inside, where her husband, Peter (Magnus Krepper), says police have called and he has to go. She looks outside at some barren trees, dramatic strings play, and the title credits come on; it’s a seemingly innocuous moment curdled into something far more ominous. 

This opening salvo with something moody and dark hiding within the banality and reliability of a simple family scene (later revealed to be in the future) sums up the Official Danish Best International Film submission Queen of Hearts as a whole. This is a film of bad decisions, loneliness, and creaky moral boundaries, interrogating the mores of modern womanhood against the backdrop of supposed domestic perfection. 

Our protagonist, Anne, is a lawyer who works with children who have been abused. She knows how to talk to young victims of rape and neglect, balancing a firm sense of what’s right with the necessary language to give these children hope. But she has difficulties switching from work to home, unable to give her twin daughters the affection they deserve. One way for anyone to switch off and focus on life outside of work, of course, is to engage in some form of intimacy; yet, her hypocritical, workaholic doctor husband has little time to give her any attention in the bedroom. 

When Peter’s teenage son, Gustav (Gustav Lindh), turns up to stay for the summer, Anne is immediately attracted to his moodiness and sexual swagger. Their slow seduction scenes seem to all come from different movies: porno (he suddenly comes out of the shower in the towel), summer indie drama (a scene in a lake with splashing water and an ecstatic soundtrack), and eventually horror (a writhing, overly staged sex scene in the dark that is extremely shocking in its frankness). 

These shifts in tone reflect the film’s queasy study in shifting sympathies, making Queen of Hearts a modern morality play baked in typically Scandinavian seriousness. Is Anne simply engaging in a harmless affair, rediscovering her long-dormant sexuality? Or is the age difference simply too far? With echoes of both The Hunt (2012) and the women-focused sex-dramas of Lars von Trier, it is sure to provoke a mixture of praise for its brazen female sexual gaze, and eventually disgust for where this gaze finally takes us. 

Queen of Hearts

Most of us assume that we are good people, even as we are engaging in less than savoury activities. It may look bad to people on the outside, but we have our reasons. The ever-reliable Trine Dyrholm turns in another mesmerising performance here, balancing her own lack of sexual self-confidence against her outwardly authoritative presence as a lawyer. Even if we cannot agree with what she does, Dyrholm successfully conveys her character’s complexity, making her sympathetic throughout. But just as we can never judge ourselves objectively, we can never know the ultimate effect our actions may have on others, especially in a dynamic such as this, leading to some bitter results. 

Queen of Hearts asks the viewer to never make assumptions, to think outside of clichés, and to really dig deep into the true heart of the matter. Director May el-Toukhy knows she has strong actors and a strong screenplay here, employing minimal tricks to just let them get on and really chew into the material. While unlikely to make it into the final Oscar shortlist, Queen of Hearts deserves a lot of credit for its utter brazenness and steadfast commitment to its difficult premise.

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‘Ford v Ferrari’ Drives Fast with Little Under the Hood

A classic Hollywood drama with fast cars and a stellar Christian Bale performance that feels great despite a lack of emotional substance.

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Ford v Ferrari

Many directors always struggle with producers and other businessmen to retain their vision. What might work most for that vision may not be what focus tests and audiences have proven to enjoy, so the film gets reworked and reworked until it becomes a box office hit, and potentially retains a director’s intent. Ford v Ferrari doesn’t necessarily feel like that — this is a James Mangold film in many regards — but by the end of its story of vision and skill versus marketing and business agendas, Mangold’s latest wrestles with placing trust in an individual against an entire body of suits.

When Carroll Shelby (Matt Damon) is approached by Ford Motors to create a car fast enough to beat Ferrari at the 24 Hours of Le Mans (an annual racing event where drivers go all day and night around the same track), he is forced to fight tooth-and-nail to get the best driver for the job: Ken Miles (Christian Bale). Shelby’s fight is singular; he wants to win the Le Mans, and knows that Miles is the only one who can do it. Yet, Ford Motors is still a company with many eyes on them, and employing the hot-headed Miles as a driver could be disastrous. So begins a struggle for Shelby and Miles to have their desires met by a company looking at the bottom line. That struggle — one that underscores every decision made by the characters in the film — is what sits at the core of Ford v Ferrari, and keeps things interesting. Set that aside, however, and the film loses a lot of momentum.

Ford v Ferrari

Still, the racing will grip audiences throughout. The final Le Mans challenge runs for a decent portion of Ford v Ferrari and is engaging throughout, but there are several other races and practices where Mangold’s craftsmanship as a filmmaker shines bright. Miles sits in the driver’s seat of all of these moments, and Bale’s performance is never stronger than when his character has that need for speed. Miles is a passionate driver with pure intentions, and Bale gives him a lot of wit and heart in between huge swings of emotion. It’s a performance that stands tall but doesn’t distract, instead meshing extremely well with the action.

Meanwhile, the other performances are also solid. Matt Damon is very good in the role of Shelby, though his character is quite often reserved because he has to be. When you put him against Bale, however, it’s clear that Shelby pales to the race car driver’s fleshed-out character, as we follow the latter’s family, his rejections and successes, and his pure heart. In the backdrop is a wide array of supporting actors, including Caitriona Balfe as Mollie Miles, Josh Lucas as the thorn in Shelby’s side, Jon Bernthal playing a standard Jon Bernthal role, and Tracy Letts chewing up scenery whenever he can as Henry Ford II. Letts and Lucas in particular give great caricatured performances, planting Ford v Ferrari into a more standard Hollywood drama.

Ford v Ferrari

Largely that’s the problem: Ford v Ferrari is a technical achievement with some incredible craftsmanship and performances that just never feels as great at slow times as it does when it’s moving past 7000 RPMs. It has a need for speed, and the pacing shows that, but it also doesn’t really rise very high above what’s needed to please an audience. Mangold is great at deriving emotional substance out of a subject, but a lot of that in Ford v Ferrari is left on the shoulders of Bale’s performance. Instead, the film focuses heavily on the bureaucratic side of things, and how that hinders talented people from being who they are destined to be. While fun to watch, there isn’t much more that will have Ford v Ferrari lingering with audiences. Instead, this will be a movie that resonates with racing fans and those that struggle against restrictions, keeping general audience satisfied in their big Hollywood dramas for the time being.

Editor’s Note: This article was originally published on September 14 as part of our coverage of The Toronto International Film Festival.

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