Salem’s Lot: A Review by Daniel Rester

Introduction to a Classic

Stephen King’s ‘Salem’s Lot, published in 1975, stands as one of the quintessential vampire novels, weaving a tale that captures the essence of small-town America while introducing readers to a cast of unforgettable characters. King’s ability to build suspense, atmosphere, and subtext is unparalleled, making the novel a rich tapestry of horror and human experience. With such a legacy, the anticipation surrounding Gary Dauberman’s new film adaptation was palpable. However, the film’s execution leaves much to be desired.

The Plot and Characters

The film centers around Ben Mears, portrayed by the affable Lewis Pullman, who returns to his childhood town of ‘Salem’s Lot in the 1970s. Mears, an author, aims to write about the eerie Marsten House, a decrepit mansion that has haunted his memories. Upon his return, he discovers that the house is now owned by an antique shop owner and his partner, who have recently moved to town. As Mears reconnects with the locals, a series of mysterious disappearances and deaths begin to unfold, setting the stage for a classic battle against the forces of darkness.

Mears soon finds allies in love interest Susan (Makenzie Leigh), courageous young Mark (Jordan Preston Carter), and schoolteacher Matt (Bill Camp). Together, they must confront the vampire menace led by the sinister Kurt Barlow (Alexander Ward). While the premise is promising, the film struggles to deliver the depth and nuance that King’s novel is known for.

Pacing and Structure

One of the most glaring issues with Dauberman’s adaptation is its pacing. The film moves hastily from scene to scene, sacrificing suspense and character development for the sake of action and jump scares. While some iconic moments from the book, such as the chilling scene of a floating child tapping on a window, are included, they often lack the lingering dread that makes them impactful. Dauberman’s approach feels rushed, leaving viewers with a sense of disconnection from the characters and their plight.

However, there is a standout scene that showcases what the film could have achieved. A moment between Mark and gravedigger Mike (Spencer Treat Clark) at a bar employs shadows, subdued dialogue, and a haunting Donovan song to create an atmosphere of genuine creepiness. This scene exemplifies the potential for tension and character interaction that the rest of the film fails to capitalize on.

Production Values and Visuals

On a technical level, ‘Salem’s Lot boasts solid production values that evoke the 1970s aesthetic without being overly nostalgic. The film’s visual style effectively captures the essence of the era, although some creative choices raise eyebrows. For instance, the inclusion of a drive-in theater, while visually appealing, feels like a forced addition rather than a natural fit within the narrative. It appears to serve more as a studio note for a climactic location than a meaningful element of the story.

Character Performances

The cast of ‘Salem’s Lot is commendable, with Lewis Pullman leading the charge as the earnest Ben Mears. While the performances are generally strong, Makenzie Leigh’s portrayal of Susan feels somewhat lacking compared to her counterparts. Bill Camp and Jordan Preston Carter shine, managing to elevate their characters despite the film’s rushed pacing and diluted character arcs. Alexander Ward’s portrayal of Kurt Barlow is menacing, but the heavy reliance on CGI for his vampiric appearance detracts from the authenticity of the character.

Overall Impression

In summary, ‘Salem’s Lot serves as slick and serviceable vampire entertainment, but it ultimately falls short of capturing the magic of King’s original work. While it is always watchable, the film lacks the depth and intrigue that fans of the novel would hope for. As an adaptation, it feels anemic, failing to do justice to one of King’s most celebrated pieces of literature. With a rating of 5.3/10, it stands as a reminder of the challenges inherent in translating a beloved book to the screen, particularly when the source material is as rich and layered as ‘Salem’s Lot.