Caca doody poopy, 3.5 readers.
Caca doody poopy, indeed.
BQB here with a review of this horror classic.
I was flipping through HBO Max’s selections the other day and this one popped up. James Caan, who passed this year, is the star, so I figured I was overdue for a re-watch. I hadn’t seen it since a kid.
The plot? Famed horror novelist Stephen King brings to life his worst nightmare, likely with a douse of parody of his most bothersome fans. We’re not talking about the typical fan who asks for an autograph. We’re talking about the nutjobs who live, breathe and think about their favorite author’s writings so much that they a) lose their minds and b) believe they have the right to dictate what the other does with their favorite characters.
Case in point. New York City based novelist Paul Sheldon has become rich and famous from a series of romance novels about the character Misery Chastain. In an early scene with his agent, played by Lauren Bacall, yes she of Casablanca fame, Paul laments that he feels the Misery series is schlock, and though he’s grateful it gave him a name and a fortune, he intends to write one last book where Misery is killed off so he can move on to write novels that would be less commercially successful but more critically acclaimed to show off his brilliance.
Off he heads to Colorado, where his longtime practice is to hole himself up in a countryside hotel away from the world and focus his writing. When his new novel is done, he sets out on the long drive back to NYC, only to accidentally run his car off the road during a snowstorm.
Local Nurse Annie Wilkes (Kathy Bates) happens upon the wreck and carries Paul to safety. He awakes days later, confined to a bed in Annie’s house. His legs are broken, leaving him to either stay in bed or move about in a wheelchair.
At first, Annie seems a godsend. How lucky was Paul that a nurse found him and fixed him up? She comes across as a fan of his books, but merely of the starstruck variety. Yes, of course I’d be happy to answer all your questions about my books, Annie, and sure you can read my new manuscript. You saved my life, after all.
Alas, what starts as a series of little white fibs turns into boldface lies as Paul realizes that Annie has no real intention of ever letting him go and that due to his immobile condition, he is dependent on a wack job if he wishes to keep living. The first day or two, “the roads are still covered with snow and the phone lines are down so the hospital is unreachable and no one can send an ambulance” is believable but when she’s still singing the same old song and dance weeks later, Paul knows something is up.
From there it is a game of cat and mouse. Paul contrives schemes to take Annie out only to be foiled. Annie tortures and punishes Paul until she eventually drops the pretense of snowy roads and downed phone lines and just openly admits he is her prisoner and she will never allow him to leave. Old newspaper clippings indicate she has been suspected of, yet never convicted by, local law enforcement of all sorts of evil doings in the past.
Everything culminates in a final showdown over Paul’s new book. Psycho fan Annie is uber pissed when she learns that Paul has killed Misery off and orders a re-write, pronto. Paul declines at first, but eventually sees a re-write as the distraction he just might need to lull Annie into a false sense of security so he can strike.
All in all, I have to assume that Stephen King has had his share of psycho fans in his day, people who enjoyed his books but got way too personal and creepy about it. This was his way at poking fun at them, as well as the jerk fans who aren’t so crazed that they’d kidnap him or anything but they feel like they have a right to boss him around about his creative decisions, tell him to write this, don’t write that, freak out over his decisions, etc.
This was a boon for both actors. James Caan saw great success with his role as Sonny in the Godfather, but his career waned in the 80s before this film helped him resurface. Somehow, he straddles the line between coming across as an intellectual type capable of literally prowess and the rough and tumble type who has no compunction about bashing his captor over the head if that’s what it takes to escape.
Meanwhile, Kathy Bates, a relative unknown at the time (and I hate to admit it but obviously not the typical Hollywood hottie actress Tinsel Town is known for rallying around) soared to super stardom in the 90s, all thanks to Stephen King’s creation of a psycho nurse who loves reading romance novels but gets depressed that she’ll never have a life as exciting as the characters she reads about, so takes out her frustrations with a double life of murder and mayhem, all the while maintaining the persona of a nice lady who refuses to say naughty words. Murderous fits of rage are fine but naughty words? Never.
STATUS: Shelf-worthy. A 32 old film that holds up to modern woke standards. Nothing really stood out to me as violating today’s rules of wokery. If anything, it is exceedingly woke for casting a woman as a psycho murderer and being strong enough to get plenty of licks in during gruesome fight scenes with a man who once played a notorious mobster. So yeah, one might say this film was ahead of its time.
SIDENOTE: Dude, seriously. We often laugh at today’s superhero movies where the tiny five foot tall, 90 pound waif-like starlet taps a 300 pound brute with her pinky finger and he goes flying, but when you watch this, there are scenes where Annie comes at Paul like a football linebacker high on crack, PCP and bath salts. There is a legit sense of fear and danger, a distinct possibility that Paul might be overcome in the fight and end up beaten to a pulp by a female.
Hmm. How can I put this delicately? Hollywood, if you want believable fight scenes where women look like they are actually kicking a man’s ass (instead of just requiring us to believe they are defying the laws of physics), hire larger women to fill these butt kicking roles. Somewhere out there, a large woman was robbed of the Black Widow role by Scarlett Johanson.
DOUBLE SIDENOTE: I watched this as a kid and thought it was scary, you know, because it is about a crazy woman who holds a man hostage and beats him and tortures him. Today, I found it scary because I am now so old that Kathy Bates’s Annie looks young to me. That’s less of a complaint about this film than it is about Father Time, though.
Bookshelf Battle 