This is Salem’s place has been Stephen King’s favorite book for almost 50 years, and has already been adapted twice. A Maine town with its outer shell covering a major vampire problem is back on the map thanks to Gary Dauberman’s new feature, which was originally slated for a theatrical release before it was published in Max. It offers a golden-hued nightmare that commits admirably to its 1970s setting, but doesn’t uphold the elements that made King’s story so enduring.
Maybe that’s just the way it is This is Salem’s placethe climax of the book, as many of King’s novels tend to be, doesn’t deserve to be a movie that runs under two hours (both previous versions were miniseries, and hovered around three hours). Although there is a clear character—the novelist Ben Mears, played here by Lewis Pullman (Outdoor Ranges, Chemistry Lessons, Thunderbolts*)-the book also gives space to several other residents of Salem’s Lot, introducing them and exploring their twisted inner lives. The reader has enough time to realize that the place is not as good as it seems even before the supernatural threat enters the city.
King also uses many names for the most prominent place on Salem’s Lot: the Marsten House. Crumbling mansions with a painful past dot the town, spreading a constant reminder that darkness can be seen even in seemingly good communities. Its sinister allure is what draws Ben, who lived in Salem’s Lot as a child, back to the city; it’s suggested along the way that the house is actually infused with evil itself, making it the perfect HQ for a walking vampire.
When you first meet you This is Salem’s place Dauberman’s film, however, may not proceed… any of that. Marsten House is part of the story, sure, but its importance feels understated. Details about its history are reduced to a montage in the opening credits, a quick conversation or two, and some microfiche library scrolling. While it is understood and expected that any adaptation will take liberties with its source material, the audience should also be given enough information to simply sit down and enjoy the movie or TV series without reading what came before.
Ben Mears’ acting is probably the biggest stumbling block in this take This is Salem’s place. In the book, Ben is haunted by his encounter at Marsten House decades ago after going on a kiddie dare; and is grieving the loss of his wife. Both details are missing here. Instead, all we get is that Ben is a semi-successful author whose latest book received mediocre reviews; has returned to Salem’s Lot, where her parents died 20 years ago, hoping that reconnecting with her youth will spark new inspiration. Pullman’s performance doesn’t add much depth; feels like ice skating, as Ben falls in love with the only cool girl in town (Makenzie Leigh who plays Susan Norton) and befriends local teacher Matt Burke (Bill Camp).
His circle grows even larger when, during his weeklong stay, the machinations of Richard Straker (Pilou Asbæk, unfortunately underused) and his vampire boss, Kurt Barlow (Alexander Ward), rise from “antique shop opening soon” to “blood-sucking frenzy ,” and we meet Dr. Cody (a wonderfully angry Alfre Woodard), Father Callahan (John Benjamin Hickey), and creepy teenage fan Mark Petrie (Jordan Preston Carter).
They come together to fight, but without a solid foundation to suggest what’s going on This is Salem’s place it’s a universal inevitability—the sheriff, played by the great William Sadler, reports at one point that the town is dying and that’s why Barlow is settling there, an idea that seems pulled out of thin air—it feels like Ben has just been chosen. worst time to visit.
There are some flaws in the script—there’s heavy foreground imagery, such as a harmonica that seems to be introduced only to provide an eerie sound a few scenes later—but Dauberman’s love of setting is evident, to last. This is Salem’s place in 1975 as a book of the Lord, it is quite right here. The production design and cinematography stay true to the retro vibes, and the addition of a drive-thru theater proves the time with perfect details that bring a nice dimension to the story.
The special effects, however, don’t sustain the experience for long, especially when it comes to memorable CG shots (you’ll know it when you see it). There is more movement than we have ever seen in This is Salem’s place adaptability—the advantage that it’s not made for broadcast TV—but it doesn’t transmit over the top. Unfortunately, it’s not scary at all, with jump scares and heavy lifting and “Character X, why did you do that dumb thing?” to provide maximum tension.
And maybe that’s the general problem with this This is Salem’s place. It’s fun and follows the theme of King’s much-loved story, but doesn’t bring much new to the table outside of the driving scenes. Aside from that sense of creeping dread—that Marsten House is an important site of an unholy force that has plagued the town for generations—it feels like a faithful adaptation but also surprisingly misses some of the more interesting parts.
It is not a it’s bad the movie. It’s worth adding to your viewing lineup for the Halloween season. But watching it, you’ll understand why Warner Bros. opted for a streaming release—and you probably agree with the decision.
This is Salem’s place arrives on October 3 at Max.
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