Television Review: SALEM'S LOT (1979, Tobe Hooper)

Stars: 3.4 of 5.
Running Time: 183 minutes.
Notable Cast or Crew: David Soul (Hutch on STARSKY & HUTCH), James Mason (NORTH BY NORTHWEST, BIGGER THAN LIFE, THUNDERBIRD Commercials), Lance Kerwin (OUTBREAK, ENEMY MINE), Bonnie Bedelia (DIE HARD, THE BOY WHO COULD FLY), Elisha Cook, Jr. (THE MALTESE FALCON, ROSEMARY'S BABY, THE KILLING), George Dzundza (THE DEER HUNTER, BASIC INSTINCT), Geoffrey Lewis (BRONCO BILLY, MAVERICK), Kenneth McMillan (DUNE, RUNAWAY TRAIN, CAT'S EYE), Fred Willard (BEST IN SHOW, D.C. FOLLIES), and a very special appearance by Reggie Nalder (THE MAN WHO KNEW TOO MUCH, THE BIRD WITH THE CRYSTAL PLUMAGE, THE MANCHURIAN CANDIDATE). Co-produced by Sterling Silliphant (THE POSEIDON ADVENTURE, OVER THE TOP, TELEFON). Music by Harry Sukman (Sam Fuller's FORTY GUNS, John Carpenter's SOMEONE'S WATCHING ME!). Based on the novel by Stephen King.
Tag-line: "The ultimate in terror!"
Best one-liner: "You'll enjoy Mr. Barlow. And he'll enjoy you."

The mixture of Stephen King and prime time TV has often been a volatile, unstable compound, burdened by sloppy storytelling, questionable acting, and low production value (IT, THE SHINING '97, THE STAND). Thankfully, SALEM'S LOT is one of the better adaptations, and while it never quite achieves the height of pulpy excitement or depth of existential dread from the novel, it's still a fine entry into the pantheon of well-made 70's TV horror movies. That being said, if King's concept intrigues you, read the novel first– many shocking elements lose their impact upon 'TV-safe' translation, and the piss is taken out of several key and supporting characters (particularly in the case of 'Father Callahan,' a character so close to King's heart that he revisited his story in the DARK TOWER series).

Father Callahan, sans piss.


SALEM'S LOT dares to ask the fateful question: "Are all small towns evil?" and answers it with a resounding... YES! Even before the onset of vampirism, the little hamlet is a hotbed of hatred, perversity, abuse, and that particularly human shortcoming of 'choosing to look the other way.' But then, two visitors: the first is the mysterious Mr. Straker (James Mason)- an antique dealer whose partner Mr. Barlow has yet to make an appearance, though strange, coffin-sized shipments have recently come in to town. The second is Ben Mears (David Soul),

a native son turned successful, metropolitan author who returns home to write a novel about a primordial evil he sensed in the town as a child. And then the peculiar happenings begin...

Tobe Hooper, having wowed viewers and churned their stomachs with THE TEXAS CHAINSAW MASSACRE and EATEN ALIVE, secured the directorial reins, though at different points of development, George A. Romero and Larry Cohen were attached (and Cohen later directed a late 80's sequel!). Though the 'bigger budget/TV movie' feel seems like it could subvert Hooper's gritty, no-budget, cannibalistic terrors, he's still able to maintain his aesthetic and weave a few genuinely creepy moments throughout. One of his centerpieces is the "Marsten House," the vampire HQ and home to some sort of ancient, evil presence, the exact nature of which remains enigmatic even in the novel. In the movie, it was a $100,000 façade constructed over an existing house, and the result is effective, with shades of PSYCHO.

The interior is spot-on as well, with nice Hooper touches like taxidermy installations, walls of damp and dessicated wood, and a floor covered in- I don't know... rodent bones?

Some have said that Hooper was distancing himself from THE TEXAS CHAINSAW MASSACRE by making this film, but, at least while we're in the Marsten house, at any moment I half-expect Leatherface to burst through one of the walls with his chainsaw, voice raised to the heavens in that unnerving, childish squeal!

Also, the infamous "window" scene, whose content or context I shall not reveal here, lives up quite wonderfully to its reputation of scarring teevee-watching kiddies for life!

–and it does it all with a fog machine and some wires: a far cry from today's overproduced, CGI-drenched terror tales.

There are some really nice character actor roles in here, too–
We've got noir legend Elisha Cook, Jr. as a hobo wine-swigging (wait, did he buy that from James Mason?), wide-eyed vagrant, who, in a piece of gag-casting, has an old flame played by Marie Windsor, his evil harpy wife from THE KILLING!,

Elisha Cook + Thunderbird ≥ Elisha Cook + Humphrey Bogart.

George Dzundza makes a psychotic appearance as a shotgun-toting, beer-swilling, cuckolded hubby who exudes Menace with a capital 'M,'

Eastwood fave Geoffrey Lewis plays a severe, deadpan grave digger who undergoes some...unnerving (and particularly well-acted) transformations throughout,

an extremely young Bonnie Bedelia brings more to the table than expected as the Female Romantic Lead,

a fast-talkin' Fred Willard plays a delightfully skeezy real estate-man (any connection with Renfield ends there) who wears some rockin' 70's plaid suits (and he's not just "zany Willard" here, either, he delivers a powerful performance in a scene with Dzundza where he plays to the barrel of a gun),


and finally, as the piéce de résistance, Reggie Nadler (the assassin from THE MAN WHO KNEW TOO MUCH '56) is reimagined as Nosferatu for his role as the demonic Mr. Barlow. He doesn't get a lot of screen time, but, as you can see, he certainly makes up for it in makeup and intensity.

(It must also be noted that this depiction of Barlow is completely different than in the novel, but frankly, I don't care.)

Alright, I guess that's it. I don't think I forgot anyone–

HMMMMMM?

Oh, sweet God- James Mason!

Hmmph...

Don't look at me with those judgmental eyebrows- it's too much to bear!

I'm not gonna lie. James Mason is my favorite part about this movie. Nobody does "SMUG CONDESCENSION" like James Mason. He floats in and out of the film, bending the citizenry to his will, killing children, and selling antiques at exorbitant prices.

You believe wholeheartedly that he views Salem's Lot simply as a village of trifling insects to be exploited for his nefarious purposes. And it's James Mason. I mean, if you're not kind of rooting for him, then maybe you shouldn't be watching this movie anyway.

JAMES MASON WILL SHUT YOU DOWN

Nothing holds a candle to the scene where he manhandles the Neanderthal police chief while being questioned about a murder that he did in fact commit. The police have confiscated one of his suits because it resembles a piece of fabric that was left behind at the murder scene. Smug condescension carries the day as Mason demands that the police not only return his suit in a timely fashion, but that they have it professionally cleaned before they do so. Then the following exchange takes place:

JAMES MASON: Ciao, Constable.
POLICE CHIEF: Chow?
JAMES MASON: Ciao. It's a familiar Italian expression meaning goodbye.
POLICE CHIEF: I didn't know you were Italian.
JAMES MASON: I'm not. The word is.

Then he winks, not once– not twice– but three times, in a coup de grâce of Herculean snobbery.


Bravo, Mr. Mason. Your senseless, bloodthirsty war on small town America will be long remembered- you've given patronizing elitists everywhere something to strive for, and truly you've won SALEM'S LOT: THE MINI-SERIES a special place in my heart. Keep on winkin'!

About three and a half stars.

-Sean Gill

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Film Review: NIGHTFALL (1957, Jacques Tourneur)

Stars: 4.4 of 5.
Running Time: 78 minutes.
Tag-line: "YOU COULD GO TO THE MOVIES EVERY DAY FOR FIVE YEARS---BEFORE YOU'D SEE ANOTHER PICTURE WITH SO MANY THRILLS AND SO MUCH SUSPENSE!" Notable Cast or Crew: Aldo Ray (MEN IN WAR, THE GREEN BERETS), Ann Bancroft (THE GRADUATE, HOME FOR THE HOLIDAYS), Brian Keith (THE WIND AND THE LION, THE YAKUZA, THE DEADLY COMPANIONS), Jocelyn Brando (Marlon's sister, THE BIG HEAT, MOMMIE DEAREST), Frank Albertson (PSYCHO, IT'S A WONDERFUL LIFE), and James Gregory (THE MANCHURIAN CANDIDATE, THE NAKED CITY). Story by David Goodis (DARK PASSAGE, SHOOT THE PIANO PLAYER) and screenplay by Stirling Silliphant (TELEFON, VILLAGE OF THE DAMNED, SHAFT IN AFRICA).
Best one-liner: A loving wife to her husband after a long day's work: "What you need is a drink... and some lamb stew, come on."

French director Jacques Tourneur (OUT OF THE PAST, CAT PEOPLE, I WALKED WITH A ZOMBIE) was a man who thrived on peculiar shadows, a fine mist, and the the realms of the unknown- whether it be in one of those frightening, out-of-the-way places, or somewhere deep within the dark, bracken-carpeted forest of a man's soul. And despite being best known for his accomplishments in horror and films noir, the man had a great affinity for nature, and never shied away from reveling in the grandeur of a majestic American landscape. NIGHTFALL is darkness and light. Neon-bedaubed, ice-rattling-in-a-highball-glass, murderous alleyway thug mystery is contrasted with gleaming snowscapes, the smell of pine, a mislaid bag of dough, and a traumatic memory- the flashback-driven answers. In my review, I'd prefer not to touch upon the specifics of the plot, so instead I'll consider the mood and the characterizations.

Aldo Ray is our protagonist. With a palooka exterior (albeit somewhat of a baby-faced one) and a soothing, gentle voice, it's really no surprise that Bruce Willis was tasked with seeing as many Aldo Ray films as possible in preparation his role in PULP FICTION- though perhaps a more accurate modern comparison would be one with David Morse. Ray can play the sort of big lug who'll admit it when he's scared, but still'll have no trouble serving up a platter of knuckle sandwiches if he has to (which is, surprisingly, almost never in NIGHTFALL).

He's even supposed to be an artist (!), too, which is a slight stretch, but he's a bizarre enough specimen to pull it off. He orders at a bar– "Vodka on the rocks, with a lemon twist." "Lemon twist or a big twist?," asks the long in the tooth bartender. "You look like the big twist type," Ray mildly replies. I love it.

Our female lead is a young Ann Bancroft. Somehow coming across as simulataneously as a more sweet-tempered and edgier version of Joan Crawford, she is pretty damned fantastic. Playing a model (and called a "mannequin" by her higher ups!) she gets a terrific Hitchcockian moment where she must escape goons at her own fashion show, dashing away from the crowd, cape and all! She has a palpable chemistry with Ray, both when they're at odds (wounded and at her apartment, he grumbles "Nice place- I'll try not to bleed all over everything!") and when they're working together (Ray aids her in her fashion show exit by awkwardly carrying and running with her). After their voguish escapade, Bancroft wonders what her boss, Mrs. Lipton, would say- "It's $650 worth of sequins!" Ray responds, earnestly- "Mrs. Lipton's never seen what a .45 can do to a set of sequins."

"Youre the most wanted man I know..." KISSSS

Amidst these great escapes, flashbacks, frame jobs, and misplaced bags of loot, we've got a duo of heavies, played by Brian Keith and Rudy Bond. Brian Keith has always got a sort of 'relaxed-bordering-on-weary,' matter-of-fact demeanor, and here it suits his killer quite well. Rudy Bond is the more unhinged of the two, leering, joking and waving a gun around like an overweight proto-Alan Arkin. ("I got a mind to give you an extra belly-button!") But maybe he just wants to be liked (?!). In one notable scene, they're roughing up Ray upon the shadowy, expressionistic landscape of an industrial park. Between the twirling gears, upright derricks, curling iron arms, seas of gravel, and savage gunmen, the sequence serves to genuinely rattle the audience. As I watched it, I realized it reminded me of something else– when Dennis Hopper perpetrates some lipstick-smeared intimidation on Kyle MacLachlan in BLUE VELVET! (And, as a side note, a suspense scene involving the spinning blades of a snowmobile was a clear inspiration for the flying wing 'propellers of death' sequence in RAIDERS OF THE LOST ARK.)

In all, NIGHTFALL is a taut, moody noir, packed with sharp, clever Stirling Silliphant dialogue; poetic, mysterious Tourneur visuals; and likable, workmanlike performances. It's no OUT OF THE PAST (my favorite noir), but how could it be? Just about four and a half stars.

-Sean Gill

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