Salem's lot

Gary Dauberman's adaptation of Stephen King's Salem's Lot presents a classic vampire story within the structure of modern horror cinema, but despite its potential, the film fails to live up to all our expectations. It sacrifices much of the novel's depth, character development and thematic resonance in favor of a fast-paced, visual horror experience. While there are some effective scares and atmospheric moments, the film struggles to balance the emotional gravity of its source material with the demands of a two-hour running time, ultimately delivering a watered-down version of Stephen King's iconic story.

The film follows Ben Mears (Lewis Pullman), a writer who returns to his childhood town, Jerusalem's Lot, in the hope of confronting old traumas and writing a new book. However, he soon discovers that the town is under siege by a vampire named Kurt Barlow (Alexander Ward) who, along with his human familiar Richard Straker (Pilou Asbæk), is turning the town's inhabitants into vampires. Ben, along with locals like Susan Norton (Makenzie Leigh), high school teacher Matthew Burke (Bill Camp) and precocious teenager Mark Petrie (Jordan Preston Carter), unite to stop the vampiric scourge from devouring the town.

One of the film's main weaknesses is its rushed pace. Stephen King's novel is a rich, wide-ranging tale that takes the time to develop the town of Jerusalem's Lot and its inhabitants. Stephen King's talent lies in creating a palpable atmosphere, immersing the reader in the intricacies of small-town life and carefully building tension as the town falls prey to evil forces.

Unfortunately, Gary Dauberman's adaptation lacks this depth. The film compresses all 439 pages of King's novel into just under two hours, leaving little room for the character development that makes the novel so memorable. The result is a narrative that feels rushed and incomplete. In particular, the central romance between Ben and Susan, which is an essential aspect of the novel, is hastily introduced and barely explored. Their relationship lacks the emotional weight necessary for later moments - such as Ben's devastating choice to confront Susan once she's been turned into a vampire - to have any impact. The same goes for other key characters, such as Dr. Cody (Alfre Woodard) and Father Callahan (John Benjamin Hickey), who appear in the film with little story or narrative substance. Their inclusion seems obligatory rather than meaningful, as the film quickly skips over key plot points to focus on the more superficial horror elements.

Where Gary Dauberman's adaptation succeeds is in its visual presentation. Michael Burgess's cinematography is often striking, particularly in scenes where light and shadow are used to create an eerie, almost dreamlike atmosphere. One of the most striking moments is when Richard Straker stalks Danny and Ralphie Glick (Nicholas Crovetti and Cade Woodward) in the woods at dusk. The sequence is bathed in a dark, haunting light, and Straker's silhouette emerging from the shadows provides real chills. These moments demonstrate Dauberman's ability to create visually compelling scenes that evoke the kind of creeping dread Stephen King is known for.

The film's use of glowing eyes and religious iconography, particularly the glowing crucifixes used to ward off vampires, adds a sense of supernatural spectacle. However, while these elements are visually interesting, they are also overused and sometimes detract from the horror. The luminous crosses, in particular, seem more like a gimmick than a genuine source of terror, reducing the impact of scenes that could have been more intense had they been played with subtlety.

Moreover, Kurt Barlow is presented as a monstrous, Nosferatu-like figure, which is an effective homage to the classic vampire story. However, Kurt Barlow's presence in the film is surprisingly minimal. Despite being the central antagonist, Kurt Barlow has very little screen time, and when he does appear, his impact is diminished by the film's focus on action sequences rather than psychological horror. Alexander Ward's portrayal of Barlow is visually impressive, but lacks the menace and complexity that would make him a truly memorable villain.

One of the greatest strengths of Stephen King's novel is its cast of characters. The Jerusalem Lot comes alive through the diversity of the individuals who inhabit it, from Ben Mears to the Glick family to Mark Petrie. Each character in the novel has a rich history, personal motivations and a unique relationship with the city. In Dauberman's film, however, many of these characters are reduced to mere archetypes, and their deaths or transformations carry little emotional weight. Lewis Pullman plays Ben Mears competently, but the film's script doesn't give him much to do. Ben's inner turmoil, stemming from childhood trauma and his desire to exorcise the demons of his past, is barely hinted at, making him a somewhat passive protagonist. His role as the town's reluctant savior is undermined by a lack of emotional depth, and his relationship with Susan Norton feels more like a plot device than a meaningful bond.

The film's most compelling character is Mark Petrie, played with energy and charisma by Jordan Preston Carter. As a horror-obsessed child who quickly understands the reality of the vampire threat, Mark brings a youthful, resourceful energy to the story. His determination and courage make him one of the film's few bright spots, and his dynamic with Ben adds some much-needed heart to the story. However, even Mark's character isn't as well developed as in the novel, where his isolation and sense of being an outsider to the town play a bigger role in his journey.

Bill Camp, as Matthew Burke, and Alfre Woodard, as Dr. Cody, bring gravitas to their roles, but their characters are ultimately underexploited. Dr. Cody, in particular, has little to do other than give explanations, and his potential as a strong, authoritative figure is wasted. Father Callahan, a deeply conflicted character in the novel, is also underexploited. His crisis of faith and downfall at the hands of Barlow is a key moment in King's story, but in the film it seems rushed and devoid of emotional resonance.

One of the central themes of Salem's Lot is the slow decay of small-town America, a metaphor for the decline of society that is closely linked to the rise of vampirism in Jerusalem's Lot. Stephen King uses vampires as a symbol of the loss of community, morality and hope in the face of external corruption. In the novel, the city's fall from Barlow is gradual and insidious, reflecting the creeping influence of evil in a place already crumbling from within.

Gary Dauberman's adaptation largely ignores these thematic underpinnings in favor of straightforward vampiric horror. Although there are passing references to the town's economic struggles and the isolation of its inhabitants, these ideas are never explored in depth. The film's emphasis on action scenes, such as the final drive-in confrontation, detracts from the more introspective aspects of the story. In King's novel, vampires represent not only physical threats, but also the deep rottenness of society. In Gary Dauberman's film, they are little more than monsters to be fought and vanquished, reducing the overall impact of the story.

Gary Dauberman's Salem's Lot is a visually appealing but ultimately superficial adaptation of Stephen King's novel. While there are some effective horror moments and some good performances - particularly from Jordan Preston Carter - the film fails to capture the depth and richness of King's original story. The rushed pace, underdeveloped characters and lack of thematic exploration make this version of Salem's Lot feel more like a missed opportunity than a definitive adaptation. For casual horror fans, the film may offer enough vampiric thrills to satisfy them, especially during the Halloween season. However, for those familiar with Stephen King's novel or expecting more from an adaptation of such a beloved work, this Salem's Lot is disappointing. Instead of offering a nuanced exploration of evil, loss and community, it offers a superficial horror experience that doesn't do justice to Stephen King's masterful storytelling.

Salem's Lot
Written and directed by Gary Dauberman
Based on Salem's Lot by Stephen King
Produced by James Wan, Michael Clear, Roy Lee, Mark Wolper
Starring Lewis Pullman, Makenzie Leigh, Bill Camp, Pilou Asbæk, Alfre Woodard, William Sadler
Cinematography : Michael Burgess
Edited by Luke Ciarrocchi
Music by Nathan Barr, Lisbeth Scott
Production companies: New Line Cinema, Atomic Monster, Vertigo Entertainment
Distributed by Max
Release dates : September 25, 2024 (Beyond Fest), October 3, 2024 (United States, France)
Running time : 113 minutes

Viewed on September 29, 2024 (screener press Max)

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