As a film enthusiast with a hearty appetite for horror and a deep appreciation for Stephen King’s work, I must say that “’Salem’s Lot” left me with mixed feelings. On one hand, I admire the director Gary Dauberman’s attempt to pay homage to the source material and the era in which it was originally set. The period details, from the classic Gordon Lightfoot tune to the polyester-blend duds, were spot on, transporting me back to 1975.
In the days prior to the arrival of vampires in small-town America through shows like “True Blood” or “Twilight”, horror writer Stephen King introduced these creatures into his rural Maine backyard, a place he fictionalized as Jerusalem’s Lot. Prior to this, blood-drinking bat-beings were primarily a concern for Europeans, with Dracula and his castle-dwelling kind preying on helpless villagers across the globe. However, in “Salem’s Lot”, King’s second novel, he posed an intriguing question to American readers: What if an epidemic of vampirism were to break out in your very own community?
A moderately late (specifically two years) update of a feature brings forth answers to a question that’s been around for half a century, delivering glimpses of style and a more fulfilling ending in an otherwise unremarkable interpretation of its outdated content. While King appeared to be modernizing another stale genre, the writer-director Gary Dauberman’s adaptation instead takes a nostalgic approach, adopting the bowl cuts, synthetic fabrics, and general distrust characteristic of that period.
The story of this movie unfolds in 1975, which happens to be the year “Salem’s Lot” was released. You can tell it’s set during that time by looking at the movies advertised on the drive-in theater marquee – “The Drowning Pool” and “Night Moves”, and also by the popular Gordon Lightfoot song playing, whose words serve as a nighttime caution: “Be careful around my back door if I catch you sneaking around.” However, due to the advancements in vampire lore over the years, Dauberman’s interpretation appears somewhat dated and not as frightening as the original Tobe Hooper miniseries (it’s best to forget about the 2004 remake).
Despite not having seen Robert Eggers’ “Nosferatu” remake yet, I can confidently say it might not appear as antiquated as the 1979 miniseries “Salem’s Lot,” where the characters resort to comic books for advice on combating the supernatural. They rely on holy water and crosses, which emit a brilliant glow in the presence of the undead. In modern times, the notion of someone warding off vampires with a makeshift crucifix made from popsicle sticks seems rather comical. However, tales abound of kids who watched “Salem’s Lot” on TV and used these very same popsicle sticks for protection.
By the way, the primary character here, a coffin-dwelling vampire named Kurt Barlow (Alexander Ward), bears a stronger resemblance to Count Orlok from “Nosferatu” rather than the traditional Dracula. This suggests that this story is more of a modern adaptation instead of a faithful retelling, as King appears to have been inspired by Stoker’s intricate shape-shifter character when writing the original source material. A more obvious hint is the recognizable outline of the Marsten House, the Victorian-era mansion of horror that was purchased by Barlow’s assistant, Richard Straker (Pilou Asbæk). This iconic building serves as the launching point for Barlow’s sinister plot: turning every resident of Jerusalem’s Lot into vampires, just like his master.
Ben Mears, a moderately successful author with roots in the town, returns to ‘Salem’s Lot around the same period when Straker establishes an antique store downtown. Both characters harbor secrets, though only Straker’s are tangible; Barlow’s coffin is seen being transported under Straker’s instructions at the story’s start – a scene that hints at the atmosphere but doesn’t involve the delivery men significantly or leave a lasting impact. They carry out their task and then vanish, as King intended for the initial victims to be children: the Glick brothers, Ralphie (Cade Woodward) and Danny (Nicholas Crovetti).
The narrative of “Salem’s Lot” leans towards a similar tone as “It,” with young boys being threatened by a stronger supernatural force. This alignment is reinforced by the fact that Dauberman wrote the two-part “It” reboot, as well as five films in the Conjuring Universe. However, unlike the terrifying entities portrayed in these works, these vampires lack an intimidating presence, despite some notable enhancements such as their eyes glowing gold in the dark and a disconcerting ability to appear out of nowhere on rooftops by swiftly moving the camera back and forth.
Following Danny’s abduction, newcomer Mark Petrie (played by Jordan Preston Carter) vows to pursue the vampires, a decision that feels both daring and understandable. However, Dauberman’s film initially stumbles, suggesting some scenes may have been removed (like Mark’s parents not appearing until Barlow kills them near the end of the movie) to improve its pacing. Straker seems oddly suspicious from the get-go, approaching Mark and the Glick boys with an overly dramatic “Greetings, young gentlemen.
Frequently in horror films, characters are caught off guard by supernatural threats like zombies or vampires, even though these creatures are common tropes in popular culture. In this instance, Mark and the school principal (Bill Camp) swiftly identify the danger and improvise weapons such as chair legs or baseball bats to impale their assailants with. They recruit Ben and his librarian girlfriend (Makenzie Leigh), a skeptical local doctor (Alfre Woodard, expressing her disbelief with “This is some nonsense!”), and an alcoholic priest (John Benjamin Hickey). However, they’re up against the entire town as the vampirism outbreak spreads at an alarming rate, reminiscent of a highly contagious coronavirus.
Essentially, Dauberman’s adaptation sticks to the original script, but with a focus on diversity and contemporary themes, such as Black lives mattering within this story. There are also some unexpected changes, like Straker departing early, allowing another character to take Barlow’s captive role. The ending, back at the drive-in, offers some surprising twists involving the setting sun. It’s intriguing to consider that a large outdoor screen, crucial during the pandemic, could potentially save humanity. However, the film’s visual effects are somewhat lackluster, making it suitable for streaming, where ‘Salem’s Lot will be available alongside the two miniseries, resting in the small-screen archive.
“’Salem’s Lot” will stream exclusively on Max, beginning Oct. 3, 2024.
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2024-10-03 14:17