Now That's An Oogie Mess: Misery (1990)

I am really having a lot of fun exploring where the category of "women in film" has taken me and I am only six days into this marathon, hopefully, this time around I can have a sort of reflection on the last day, something I had hoped to do with the Halloween month, but failed to do when caught up with some school priorities.  The next stop on my unplanned list brought me to a Stephen King adaptation, something I have blogged about before with the surprisingly watchable The Mist.  However, The Mist was a film I heard about within film critic circles and from various film based podcasts, as opposed to Misery which had a reputation that more than preceded itself, due almost entirely to a scene involving James Caan's ankles and a sledgehammer.  I say it has a reputation for this alone, and it is somewhat of a shame, because Kathy Bates is a revelation in this film, it is one thing to play a crazy woman who entraps an author in her house to write texts, however, to add layers of delusion and religious based madness, is a whole other thing.  I do not believe that I have seen any of the other Oscar nominated performances from that year, and, to be honest, it really does not matter, since it clearly deserved to go to Bates.  I was glad to catch up with this role, because Kathy Bates has come to the point in her career, that she is essentially playing roles predicated upon her being Kathy Bates, her recent cameos on The Office come to mind immediately.  Yet, in 1990 when this film was initially released she was still establishing herself as a well-known and respected actor and was still years away from her empowering role in the overtly problematic, but, nonetheless, cinematic Titanic.  It is one thing to act along side Richard Farnsworth and James Caan, but is even more a feat when you act circles around them in the process.  Of course, considering that it is being reviewed now within the framework of women in film, the problems the narrative creates relating to a rhetoric of hysteria and women's outlets of desire must be acknowledged, not to mention the very self-engratiating manner with which Stephen King demands his readers, in this case viewers, comprehend the woes of writing creatively.

Misery focuses on well-established author Paul Sheldon (James Caan) who has recently finished a text in his prolific Misery series, focusing on a woman and her experience in 19th century America.  Concerned with being pigeon-holed by this particular sort of text, Sheldon decides to write a book focusing on the experiences of his childhood in New York, a far cry from his previous work.  Although his subject has changed, his methodology has not, taking up shelter in a remote lodge in Colorado until he completes his text, enjoying one cigarette and one glass of Don Perignon after.  Unfortunately, he complete his task in the dead of winter and must travel in a heavy snow storm to return home.  On his trip he crashes on a snow bank, presumably left for dead to the elements.  Sheldon, however, is rescued by Annie Wilkes (Kathy Bates) a local nurse, with excellent hospice care, who openly admits to being Sheldon's "number one fan" a statement she validates by quoting passages directly and debating the most minor of details with Sheldon.  It appears as though Annie has the best of intentions, yet when she reads Sheldon's new work she is disgusted by its foul language and lack of dignity in relation to the Misery series, only to be pushed over the edge when she purchases the final installment of the Misery series to discover that the protagonist she has invested much time into has been killed off by Sheldon.  At this point, Sheldon realizes that Annie has been quite deceptive about her contact with the community and their being made aware of his forced inhabitation in her home, even leading to a concern by the local sheriff Buster (Richard Farnsworth).  Annie, however, in her deep web of delusion manages to plan far ahead of any escape Sheldon could hope to make, going so far as to infamously "hobble" him into staying.  Yet, Sheldon realizes that he can dangle the final chapters of his "revised" Misery book, in order, to play at Annie's affections, a methodology that allows him to attack her and eventually kill her.  He returns to New York, now crippled, and finds his texts receiving critical praise, although he is completely dismissive of the possibility of recounting his experiences of entrapment, especially since he finds himself still paranoid about seeing Annie even in high-scale dining establishments.

The film is excellent and certainly is a thrill to watch and it is impossible to deny the horrific nature of a delusional woman entrapping an author as a result of a devilish cocktail of delusion and fandom.  However, it cannot be overlooked that the film problematizes the image of the single woman living alone, something which is often depicted problematically in an urban setting, and only worsened by the secluded rural setting.  While one could certainly glean moments of sympathy from this film which are directed towards Annie, it is clear that she is a villain and somewhat less clear, but, nonetheless, suggested that it is a result of her feminine instability.  Her fandom, within the context of the film, is clearly rooted in her loss of a husband, assumedly to infidelity.  It is not necessarily her adoration of Sheldon, so much as her love of the figure and idea of Misery, an independent and successful, all be it fictional, woman.  The film appears far too concerned with noticing how particularly "feminine" her madness is, constantly tying her break downs and mental issues to the domestic space, even though her large, domineering nature visually contradicts the demure assumptions about domesticity and femininity.  One also cannot help but consider this film as a text about the problem of acknowledging non-physical disability, especially since viewers are provided with Sheldon's character as an example of physical disability, therefore, deserved of outright pity.  To borrow from feminist disability theorist Susan Wendell, Annie also suffers from a disability, but because it is mental and not clearly quantitative, aside from her violent outbursts, society, or in the case of this film viewers, is unwilling to accept it as a serious problem or issue to acknowledge within a social conversation.  Annie is certainly a demented character and is to be reprimanded for trapping a person against his will, yet the film fails to really consider the emotional distresses faced by her years before that may have been overlooked because of their decidedly non-physical elements.

Key Scene: As hyped as it is and well known, there is no denying the cinematic intensity of the "hobbling" scene.

This is a solid film that I own on DVD, however, it is more than acceptable to check out on Neflix, where it is currently Watch Instantly.

There's Nothing Out There: The Mist (2007)

Let me get this out up front.  I am a huge proponent of director's intent.  I loathe Ted Turner's push to "colorize" classic films like It's A Wonderful Life amongst others.  Furthermore, I am completely opposed to when production companies force directors to sacrifice their visions in the name of ticket sales and accessibility.  This was the case for Frank Darabont's adaptation of Stephen King's novella The Mist.  Darbont's intent was to release the film in black and white for a variety of cinematic and thematic reasons, yet; his producers refused him this right and demanded that it be in color.  While I cannot speak to it being the reason it fell to the wayside that year for horror films, I strongly feel as though its critical acclaim may have increased considerably were he allowed to film it with the chiaroscuro elements of black and white present.  Luckily, for cinephiles, the most recent DVD release includes the black and white version of the film as an extra disc feature and it is the vision that this post shall review, because I am simply going to pretend the color version does not exist.  With the choice to remove color, The Mist becomes a much more astute social commentary that emits moments of abrasive imagery that makes viewers cringe in discomfort, much like Tony Kaye's seminal documentary on Abortion titled Lake of Fire...a term that to no surprise emerges on at least one occasion within The Mist.  If it were not for Kubrick's version of The Shining, Darabont's adaptation could well be my new favorite take on a Stephen King work, although it appears that at least one movie a year is an adaptation of the prolific writers work, so that statement could change quite quickly.

The Mist focuses on life in a rural Maine town following a storm of cataclysmic proportions.  Painter David Drayton (Thomas Jane) serves as the films main character, as he attempts to make amends with his neighbor Brent Norton (Andre Braughber) after a tree from his yard destroys his boathouse.  Realizing the frivolity of the entire situation, both David and Brent, along with David's son Billy (Nathan Gamble) head to the town grocery to gather supplies to begin repairing their respective houses.  While the power is out at the grocery things seem relatively normal and each begins doing their shopping, however, things become unusual as military police begin showing up and demanding that a group of young recruits cut their leave short to help in clean up.  Things grow suspicious quickly and are only worsened when a town resident runs out of the mist into the store claiming to have viewed something in the dense fog.  This event begins the flickers of paranoia within the grocery store, which will provide the setting for most of the films remainder, as David leads an expedition to the stores docking bay, which proves the claims of a creature being in the mist to be true.  A tentacled beast and many mutated bugs exist in the fog and begin preying on the various people within the grocery.  At this point, things begin to fall apart within the store, people begin arguing over whether or not to stay, which ultimately proves to be the dividing point between David and Brent.  Furthermore, a fire and brimstone spouting woman begins to convert followers with her claims of the mist and the beasts as being a sing of the end of days.  While at first her claims are dismissed, with the death of various people and the continual attacks of the monsters she begins to recruit followers, eventually becoming so maddened as to suggest sacrificing Billy to the creature.  David reacts quickly and with the help of a handful of other people escapes the grocery store and grabs a truck to escape.  On their drive out of town, toward Portland, they see the various creatures, most notably a gigantic spider like beast roaming above them.  Along the way they run out of gas, completely incapable of doing anything, David uses a gun to take those travelling with him out of their misery, including his own son.  He is left alone without any bullets to linger in loneliness.  As David steps out of his car to scream in agonizing defeat, military vehicles drive by him to rescue survivors and burn down the infestations of the monsters, if only his group had waited ten more minutes they would have survived the entire ordeal.

The Mist, as Darabont has stated himself, is not about the monsters that exist in the exterior world of the film, but instead those that exist in the interior minds of the people within the film, whether it be David's own struggle to assert himself as a respectable father, or Brent's concern with proving himself as a respectable outsider, even if doing so means legal actions.  Even the narratives secondary characters find themselves battling inner demons, most notably Ollie (Toby Jones) the stores assistant manager who constantly struggles to assert authority despite being of small stature and his being victim to continual ridicule by his superior.  King's work also exudes the issues of religious proclamations in the face of troubled times and in Darabont's adaptation it is clearly suggested that the religious zealot Mrs. Carmody (Marcia Gay Harden) is doing more harm than good by proselytizing to the individuals trapped in the store.  However, Darabont also chooses not to depict her character's imminent death, perhaps as a bleak commentary on the future of religious extremism in America.  Finally, the film has a certain timelessness about it, something that Darbont admitted to intending within the film, while David certainly possesses as cellular phone, everything else within the film suggests a an America from various generations, whether it be the 80's style vehicles or the 50's feel of the town grocery.  The struggles and turmoils of an American unity is central to the film and The Mist reminds viewers that a constant demand for opposition only hinders America.  I am unintentionally on a kick of "storm as a metaphor" films, but I do not mind that considering that, they have all been enjoyable and it seems as though the paranoia of something worse to come is pertinent in the rhetoric of the upcoming political election, as well as the continually worsening state of the world economy. 

Key Scene: The scene in which David finds his wife after leaving the grocery store is incredibly oneiric.

The Mist in black and white is something to be viewed, while it is not an incredibly important film it is quite enjoyable and worth renting, although make sure to get the second disc, because that is where you will find the black and white version which is the one you want to watch.