Stephen King’s ‘Salem’s Lot’ returns: A modern take on a classic horror tale
Revisiting the roots of American vampire lore
Long before the likes of “True Blood” or “Twilight” brought vampires into the heart of small-town America, Stephen King envisioned these creatures invading his own backyard in rural Maine. This fictional place, known as Jerusalem’s Lot, became the setting for King’s second novel, ‘Salem’s Lot. In this story, King posed a chilling question to American readers: What if an outbreak of vampirism struck your community?
A new adaptation with a retro twist
A new feature version of ‘Salem’s Lot has emerged, albeit two years delayed, revisiting this question half a century later. This adaptation, directed by Gary Dauberman, offers flashes of style and a more satisfying finale, though it struggles to fully capture the essence of its source material. While King’s original work brought a modern twist to the vampire genre, Dauberman’s adaptation embraces the aesthetics and paranoia of the 1970s.
Set in 1975, the same year the novel was published, the film’s period is evident from the movie titles on the local drive-in theater marquee — “The Drowning Pool” and “Night Moves” — and the classic Gordon Lightfoot song, “Sundown.” However, vampire lore has evolved significantly since then, making Dauberman’s take feel quaint compared to the earlier Tobe Hooper miniseries.
Nostalgia meets modern horror
The film’s main vampire, Kurt Barlow (Alexander Ward), is a bald-headed coffin-dweller reminiscent of Count Orlok from “Nosferatu,” rather than the sophisticated Dracula. This choice signals that the film is more of an update to the miniseries than a return to King’s original vision. The iconic Marsten House, a Victorian-style mansion, serves as the base for Barlow’s assistant, Richard Straker (Pilou Asbæk), to unleash a vampiric plague on Jerusalem’s Lot.
Ben Mears (Lewis Pullman), a moderately successful author who grew up in the area, returns to ‘Salem’s Lot just as Straker is setting up an antique shop downtown. Both men have their secrets, though Straker’s are more literal, as evidenced by the transportation of Barlow’s coffin in the opening scene. This scene, however, misses an opportunity to set the mood, as the delivery men simply disappear without any memorable dispatch.
The evolution of vampire threats
The story takes a familiar turn as young boys, Ralphie (Cade Woodward) and Danny Glick (Nicholas Crovetti), become the first victims, echoing the child-endangerment themes of King’s “It.” Despite some nifty upgrades, such as glowing eyes and materializing tricks, these vampires lack the intimidation factor of their predecessors.
New-to-town teen Mark Petrie (Jordan Preston Carter) vows to hunt the vampires, a reckless yet relatable promise. The film starts off clunky, with some scenes seemingly cut for pacing, but it eventually finds its rhythm. Straker’s conspicuous creepiness is evident from the start, adding to the film’s eerie atmosphere.
A community fights back
In many horror movies, characters are often unaware of the supernatural threats they face. However, in ‘Salem’s Lot, Mark and the school principal (Bill Camp) quickly recognize the danger and take action, fashioning wooden stakes from everyday objects. They enlist the help of Ben, his librarian girlfriend (Makenzie Leigh), a skeptical local doctor (Alfre Woodard), and an alcoholic priest (John Benjamin Hickey). Together, they face an entire town turned vampire, as the infection spreads rapidly.
A faithful yet fresh adaptation
Dauberman’s adaptation stays true to the original story while incorporating some modern improvements and plot twists. For instance, Straker exits the story early, allowing another character to become Barlow’s thrall. The climax, set at the drive-in theater, offers a unique twist with the setting sun playing a crucial role. This setting, which saved movies during the pandemic, now holds the potential to save mankind.
Despite some lackluster visual effects, ‘Salem’s Lot is set to join the ranks of streaming horror classics. The film will stream exclusively on Max, beginning October 3, 2024. For those who appreciate a blend of nostalgia and modern horror, this adaptation offers a fresh take on a beloved classic.
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