Long before “True Blood” or “Twilight” introduced vampires to small-town America, horror author Stephen King envisioned these creatures invading his backyard in rural Maine (specifically, a fictional town called Jerusalem’s Lot). Up to that point, bloodsucking bat-men were solely a concern for Europeans, as Dracula and his castle-dwelling relatives preyed on unsuspecting villagers halfway around the world. Then came “’Salem’s Lot,” King’s second novel, which posed the question to American readers: What if an outbreak of vampirism occurred in your community?
A lukewarm new feature adaptation (technically delayed by two years) revisits that question five decades later, presenting occasional stylistic moments but an overall disappointing interpretation of its dated source material. While King seemed to breathe new life into a stale genre, writer-director Gary Dauberman’s nostalgic adaptation takes a different route, fully embracing the pageboy hairstyles, polyester outfits, and pervasive distrust characteristic of that era.
The film is set in 1975, the same year “’Salem’s Lot” was released. You can gauge the time period from the movie titles displayed on the local drive-in theater marquee — “The Drowning Pool” and “Night Moves” — along with the classic Gordon Lightfoot song, whose lyrics now serve as a nocturnal warning: “Sundown, you better take care/If I find you been creeping ’round my back stairs.” The issue is that vampire lore has evolved significantly over the years, making Dauberman’s approach feel quaint and considerably less frightening than the earlier Tobe Hooper-made miniseries (it’s better to disregard the 2004 adaptation altogether).
I haven’t seen Robert Eggers’ “Nosferatu” yet, but I suspect even that silent film remake won’t seem as outdated as “’Salem’s Lot,” where the characters turn to comic books for guidance on how to fend off the undead: employing holy water and crosses, which emit a bright light in their presence. These days, the image of someone warding off a vampire with a crucifix made from taped-together tongue depressors seems absurd, even though I’ve heard stories of children who watched “’Salem’s Lot” on TV and carried popsicle sticks for the same reason.
Interestingly, the primary vampire in this film, a bald coffin-dweller named Kurt Barlow (Alexander Ward), recalls Count Orlok from “Nosferatu” much more than he resembles the old Dracula. This detail indicates that the film is essentially a revision of the miniseries rather than a faithful return to the source, where King clearly had Bram Stoker’s sophisticated shape-shifter in mind. A clearer indication is the recognizable outline of the Marsten House, the Victorian-style murder mansion acquired by Barlow’s assistant, Richard Straker (Pilou Asbæk). It’s an iconic location from which he enacts his plan: to transform every resident of Jerusalem’s Lot into his master’s likeness (i.e., to turn them all into vampires).
Moderately successful author Ben Mears (Lewis Pullman), who grew up in the area, returns to ’Salem’s Lot around the same time Straker is establishing an antique shop downtown. Both men harbor secrets, though only Straker’s are tangible, as we witness Barlow’s coffin being delivered at Straker’s request in the opening scene — a missed opportunity for setting the mood where the two delivery men vanish without a trace, failing to make a memorable impact. They simply complete their task and then disappear since King intended the story’s initial victims to be children: the Glick brothers, Ralphie (Cade Woodward) and Danny (Nicholas Crovetti).
This trajectory guides “’Salem’s Lot” in a familiar “It”-like direction, as young boys are directly threatened by a significantly more powerful supernatural force — which makes sense, considering Dauberman wrote the two-part “It” reboot (as well as five films in the Conjuring Universe). However, these vampires are just not very frightening, despite some interesting upgrades, such as eyes that glow gold in the dark and a trick where they seem to materialize on the rooftops of local buildings as the camera pans back and forth to find them.
After Danny is taken, newcomer Mark Petrie (Jordan Preston Carter) vows to confront the vampires — a promise that is both reckless and relatable. Although significantly shorter than the two TV adaptations, Dauberman’s film starts off awkwardly, as if several scenes were cut (for instance, Mark’s parents don’t appear until Barlow kills them later in the film) in an attempt to establish proper pacing. Straker comes across as overtly creepy from the beginning, pulling up beside Mark and the Glick brothers with a flamboyant, “Greetings, young masters.”
Often in horror films, characters are oblivious to what they are facing, reacting to zombies or vampires as if such beings were not staples of pop culture. In this case, however, Mark and the school principal (Bill Camp) quickly recognize the threat, crafting wooden stakes from whatever is available — a chair leg, a baseball bat — and impaling their attackers. They recruit Ben and his librarian girlfriend (Makenzie Leigh), along with a skeptical local doctor (Alfre Woodard, who exclaims, “This is some shit!”) and an alcoholic priest (John Benjamin Hickey). Still, it is a battle of six against nearly the entire town, as vampirism spreads more rapidly than the most insidious coronavirus.
Overall, Dauberman has crafted a straightforward adaptation, with a few updates for diversity (let’s just say, Black lives matter in this version) and several twists to keep audiences engaged. For example, Straker exits the narrative early on, making way for a different character to become Barlow’s thrall. Then there’s the climax back at the drive-in, where the setting sun behaves in strange ways. It’s satisfying to think that a massive outdoor screen, which saved cinema during the pandemic, could potentially save humankind. However, given the poor quality of the film’s visual effects, it’s just as well that “’Salem’s Lot” is headed for streaming, where it will join the two miniseries in the small-screen graveyard.
“’Salem’s Lot” will stream exclusively on Max, beginning Oct. 3, 2024.
Exploring the Timeless Horror of ‘Salem’s Lot
The Origin of ‘Salem’s Lot
Long before “True Blood” or “Twilight” brought vampires to small-town America, horror writer Stephen King imagined the creatures invading his backyard in rural Maine, specifically in a fictional place called Jerusalem’s Lot. King posed a disturbing question to American readers: What if an outbreak of vampirism struck your community? This inquiry marked the birth of one of his quintessential novels, “’Salem’s Lot.”
A Fresh Take on a Classic
The new adaptation of “’Salem’s Lot,” directed by Gary Dauberman, offers a modern lens through which to view the horror of vampirism in a quaint 1975 setting. Using period-appropriate aesthetics such as pageboy haircuts and polyester clothing, the film provides a retro-minded experience that reminisces about a time when horror was more simplistic yet equally impactful.
Setting the Scene: 1975 America
The film’s setting in 1975, coinciding with the novel’s publication, immerses viewers in an era characterized by classic cinema and nostalgic music. The local drive-in theater showcases films from this period, accompanied by the haunting Gordon Lightfoot song that serves as a warning for locals: “Sundown, you better take care/If I find you been creeping ’round my back stairs.” This grounding in time helps the viewer appreciate the tension between innocence and horror.
Evolution of Vampire Lore
Vampire lore has transformed significantly since King introduced readers to his terrifying vision. Dauberman’s adaptation feels quaint, primarily when compared to the intense chills delivered by earlier iterations, like Tobe Hooper’s iconic miniseries. The film is laden with features that ring oddly, considering contemporary horror standards. This disparity can lead to a nostalgic appreciation but also a disconnection for modern audiences.
Character Analysis: Kurt Barlow and the Residents of Jerusalem’s Lot
The antagonist, Kurt Barlow (played by Alexander Ward), is reminiscent of Count Orlok from “Nosferatu.” Straying from traditional depictions, Barlow’s design, along with the eerie Marsten House’s silhouette, underscores his menacing presence. The mansion becomes a focal point for his chilling plan to convert the entire town into his undead followers, anchoring the horror deeply within the familiar yet sinister landscape of Jerusalem’s Lot.
Ben Mears: The Reluctant Hero
Ben Mears (Lewis Pullman) returns to ‘Salem’s Lot, bringing his own complicated history along with him. As he confronts the resurgence of evil, viewers get a glimpse of his journey from a fragile past to assuming a role of reluctant leadership against the growing threat. His connection to the town adds depth to the narrative, making his conflict feel personal.
Thematic Elements: Fear and Paranoia
“’Salem’s Lot” encapsulates the quintessential theme of fear and the unknown penetrating the facade of small-town life. The characters grapple with a relentless dread, exacerbated by familiar surroundings morphing into places of terror. As vampire lore trends evolve, the characters in Dauberman’s adaptation quickly acknowledge the threats, leading to improvised defenses against the undead.
Blood Brothers: The Glick Brothers
The story intertwines with the fates of two children, Ralphie and Danny Glick, who serve as the narrative’s tragic foundation. Their transformation into victims of vampirism heightens the stakes, symbolizing the loss of childhood innocence. Mark Petrie (Jordan Preston Carter), a new-to-town teen, thrusts into action, investing viewers in their quest to combat the monstrous encroachment.
Visual Style and Special Effects
While the film is visually striking at times, the special effects garner mixed reviews, leading to a somewhat dated feel. With vampires implementing glow-in-the-dark eyes and an ability to appear suddenly from the shadows, stylistic choices honor classic horror aesthetics while also risking despair through their execution. The visual design serves as both homage to the original works and a reminder of the need for innovation in modern horror cinema.
Diversity and Inclusivity in Storytelling
Dauberman’s adaptation offers contemporary improvements that reflect on diversity, providing a more inclusive portrayal of characters while staying true to the horror elements of the source material. This approach invites a wider audience into a familiar tale, enriching the narrative by highlighting varied personalities and perspectives amidst the horror.
Noteworthy Changes and Plot Twists
Fans of the original will note that Straker exits early in the adaptation, paving the way for unexpected character developments. These twists not only keep audiences engaged but also build tension as different characters become pivotal in the battle against Barlow’s dark influence.
Final Showdown at the Drive-In
The climax unfolds at the drive-in cinema, amplifying nostalgia while enclosing the characters within a symbolic battleground against the looming threat. The giant screen becomes a battleground where cinematic history meets modern horror in a bid to save mankind from the clutches of vampirism.
Availability for Streaming
“’Salem’s Lot” will stream exclusively on Max, beginning October 3, 2024.
