50. Misery (1990) - Dir: Rob Reiner
Being totally helpless is one of my biggest fears. Knowing that doom is waiting only a few short breaths away, and being unable to do anything about it, scares the crap out of me. Being tortured, while helpless, is also unnerving, and makes me sick just thinking about it. This is the kind of horror that really gets to me. Supernatural, monster-based horror can be easily shrugged off as fantasy and make believe. However, real, messed up, derange people doing horrible, nasty things to helpless victims is a very realistic thing, and something that could, albeit the chances are slim, happen to any one of us. Misery captures this feeling of helpless terror better than any film I have ever seen, and while I am by no means passing this off as a “realistic horror” film, the feeling of dread and pain I get while watching it are intense and gut-wrenching.
Now you may read the above passage and think that I would be into this new breed of "torture porn." While on the surface films such as Saw, Hostel, and Captivity may share similarities with Misery, they are, as a matter of fact, completely different beasts, and, quite frankly, I find these films to be lame, poorly executed, cinematic garbage not worth the price of the film they're on. The main difference has to do with character, and in Misery's case, being based on a Stephen King novel, it has as strong a character-foundation as any genre film ever made. Say what you will about King, but one thing is certain: he is a master craftsman of character, sometimes to a fault. King knows how to get into his characters' heads and hearts, and he knows how to exploit his characters' desires, wants, and needs, and fashions situational horror around them. Misery, the film, is simply an expertly crafted situational horror film built upon an impeccable foundation of two strong characters.
What is also interesting about Misery is the pedigree of the filmmakers involved. Rob Reiner, most notable for his strong comedy work, is not a go-to-guy for horror. However, because good comedy relies so heavily on timing, character, and absurd predicaments, he is a perfect fit for this particular film. Reiner knows how to get the most out of a set up, and Misery features some of the most outlandish punchlines ever filmed; even after all of these years, I still have yet to watch the ankle breaking scene without partially covering my eyes and gritting my teeth, it gets me every single time. That he was also a horror-film greenhorn upon filming Misery only adds the films freshness and zest. Not accustomed to the tropes and established conventions, and not having a bag of horror-flavored tricks to draw upon, Reiner's direction here is profoundly affecting.
It is also impossible to speak of this film without mentioning the performances given by Kathy Bates and James Caan. Bates' portrayal as Annie Wilkes, the dim-witted uber-fan hell-bent on saving her beloved literary character is nothing short of astonishing. To see her transform from a care-giving and overly zealous nurse into a creature of demonic, misplaced passion is a cinematic treat for the ages. Her performance, beginning with subtle nuance and ending with uproarious bombast, is deserving of all the praise it has ever received. Caan's turn as Paul Sheldon, author-cum-hapless-victim, is equally as stunning. King drew upon his own fears of super-fandom and isolation while writing Misery, and Caan expertly conjures the author's creation. Although Caan spends the vast majority of the film bedridden and physically incapacitated, his ability to convey his emotions with only his face and soft voice is second to none.
Misery is a brilliant piece of genre filmmaking, one that deserves to be on any Top 100 list. It is one of the greatest book-to-film adaptations, but, more importantly, it also stands with strength on its own. While many of King's books have been made into less than stellar films, Misery stands as a testament to the power of the printed page and the silver screen. It is a perfectly executed horror film that is brimming with tense situations, memorable dialog, and gut-wrenching punchlines that truly resonant. But most of all, it is a horror film relying on something that most do not: strong characters. Because of King's own ability to create characters with authentic emotions that are more than gore-drenched cannon fodder, the film benefits from an already strong and well-crafted foundation. That Rob Reiner, Kathy Bates, and James Caan are able to capitalize on and personalize King's previously established vision only further exemplifies their deft and professional talent.
