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Plot - Paul Sheldon (Caan) is a hugely popular and successful writer, with much of his success arising as a result of his series of books featuring the character of Misery Chastain. Despite the wealth and fame they have brought him, Sheldon has no real passion or pride for them. Setting out to write something more serious and substantial he makes the decision to kill the character off and instead writes a new unrelated novel. He always writes his novels in a secluded lodge in Colorado before heading back to the city to give the finished manuscript to his editor (Bacall). Except that this time when he attempts to leave after completing the novel, he does so in a wild blizzard and crashes his car. He is critically injured and would surely have died there and then but is instead rescued by Annie Wilkes (Bates), a former nurse and as it turns out Paul's number one fan. She takes Paul back to her remote house to recuperate from his numerous broken bones. Except that she doesn't inform anyone of this. As it turns out Annie is also just a little bit unstable. When she discovers that Paul has killed off her beloved Misery, Annie becomes furious, holding Paul captive and forcing him to write a new Misery story which brings her back to life.
There's no doubt that the prime reason Misery is so much fun to watch is down to Kathy Bates' terrific performance as the unhinged Annie Wilkes. It almost feels like Bates should have been given dual credits for the film as she pretty much portrays two completely different characters. For much of the film's first act she appears to be the nicest, sweetest person you could ever wish to meet, full of homespun expressions and rustic, country girl wisdom. She may come across as a little odd and eccentric perhaps, but it would be easy to just put that down to the isolated state from society which she has created for herself. However we eventually begin to see the other side of Annie Wilkes, the terrifying and monstrous side of this deranged super-fan. And Bates is absolutely captivating in these scenes of transformation. The contrast that her cheery, sunny disposition flags up playing against the sadistic monster proves to be very humorous. Though she isn't quite the despicable monster I had expected with Bates giving the character a sense of depth and empathy. In the scene where she acknowledges how Sheldon will be wanting to leave soon I felt genuine sympathy for the character.
While it is Bates that really makes this film it would be unfair however to overlook James Caan's contribution to the film. Despite the fact that he is restricted either to a bed or a wheelchair for the large majority of the film, Caan does not allow that to detract from his performance. His Sheldon is quite an interesting creation, not acting in the typical way you might expect. He doesn't appear as terrified or defeated as would be normal, giving Sheldon a dry wit and a penchant for caustic remarks. It's fun watching their cat and mouse relationship unfold as Paul tries to outwit Annie by playing along with and even sympathising with her. Though in a way it doesn't seem like a completely negative experience for him, he seems to find it rather interesting and even motivational in regards to his writing. Perhaps he even thinks this is him getting his just desserts for the meagre work he has put out into the world. Caan also does a fine job portraying the levels of excruciating pain he is in. And while Misery is basically a two-hander between Bates and Caan the film also provides some fun little departures in the form of back and forths between the local sheriff and his wife/deputy. Played winningly by Richard Farnsworth and Frances Sternhagen, they share a very entertainingly cranky rapport and provide a few good laughs.
Prior to Misery, Rob Reiner's previous three films as a director had been When Harry Met Sally, The Princess Bride and Stand by Me. When you take into consideration just how large a departure Misery is from the light-hearted, romantic and nostalgic nature of those films I think Reiner deserves a good deal of credit for how he handles this drastic change of pace. You could say that the structure of the film may not require a great deal of work on his behalf but I feel he does an effective job of directing events throughout, particularly the moments of extreme suspense. With Caan confined to his bed for large stretches Reiner really makes the most of the occasions where Sheldon is able to escape from his one-room prison, ratcheting up the tension. I loved the sequence which depicts Sheldon's first foray out of his dungeon like existence. As he drags himself out of bed we can really feel the immense discomfort and pain the character is suffering, and Reiner than cross cuts back and forth between Sheldon exploring the house and Annie returning to the house. It may be a pretty typical 'race against time' scene, nothing particularly innovative, but it is nicely done. Reiner frequently films much of the movie from a low camera angle to give us Sheldon's point of view, placing us in his position. Such an approach also allows Reiner to frame Bates in an imposing and formidable light, mimicking the way in she towers over Caan's prone body. It's a very effective move at covering up for Bates' rather slight frame; she is actually only 5'3” but as she looms over us she appears to be giant.
Misery has some interesting issues at its heart as it tackles obsession, celebrity worship and an artist's love/hate relationship with thier own work. Annie Wilkes has become so infatuated with Sheldon and his series of books concerning the character of Misery Chastain that they are no longer just something she enjoys, her whole existence has become tied to them. So when she discovers that Sheldon has killed off her beloved Misery it pushes her over the edge. It also highlights that fascinating and unique thing about celebrities; that it's the people who really love and worship them that sometimes need to be most feared. Even though it's the celebrity giving entertainment to the public, by supporting them and making them a success some people seem to believe that the celebrity in turn owes them something. And that if they try to do something different they see it as a betrayal. Misery makes sure that the phrase, “I'm your no. 1 fan”, has never been so chilling. The source inspiration for the film of course comes from Stephen King's original novel, and I just wonder how many letters and confrontations he has had with such fans that may have inspired such a story.
It's also easy to see the events of Misery as a metaphor for conflicted artists all over the world. The Misery Chastaine novels that Sheldon writes are utter hokum but they find a wide audience and as a result are a great cash-in opportunity for him. But it doesn't make him happy. When he tries to write something actually worthwhile for once however, something of substance and close to his heart, he finds his work being censored by Annie in the form of her burning his work. She is the embodiment of the completely evil editor who will not allow you to showcase your talents, but wants you to keep churning out the same old stuff because its a dependable money-maker. I'm sure it's the life story of many a writer, film-maker, singer etc.
While Misery may most likely be placed in the horror genre it is never a particularly scary film; it seems a lot more concerned with being darkly funny and luridly entertaining. It may become a classic game of cat and mouse between the two individuals but the film never really throws any twists or shock surprises our way. Instead it provides its kicks of adrenaline as a result of sudden bursts of startling violence, the most obvious of course being the famous sledgehammer scene which really did elicit quite the wince and audible reaction from me. Great scene. Great film.
Conclusion - I went into this one expecting something rather dark and grim. Instead I was delighted to find that Misery was an extremely entertaining flick, full of dark humour and a fantastic turn from Kathy Bates. It takes the subject of an everyday horror and proves to be just a lot of fun.
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Year of release
1990
1990
Directed by
Rob Reiner
Rob Reiner
Written by
William Goldman
Stephen King (novel)
William Goldman
Stephen King (novel)
Starring
Kathy Bates
James Caan
Richard Farnsworth
Frances Sternhagen
Lauren Bacall
Kathy Bates
James Caan
Richard Farnsworth
Frances Sternhagen
Lauren Bacall
Misery
Plot - Paul Sheldon (Caan) is a hugely popular and successful writer, with much of his success arising as a result of his series of books featuring the character of Misery Chastain. Despite the wealth and fame they have brought him, Sheldon has no real passion or pride for them. Setting out to write something more serious and substantial he makes the decision to kill the character off and instead writes a new unrelated novel. He always writes his novels in a secluded lodge in Colorado before heading back to the city to give the finished manuscript to his editor (Bacall). Except that this time when he attempts to leave after completing the novel, he does so in a wild blizzard and crashes his car. He is critically injured and would surely have died there and then but is instead rescued by Annie Wilkes (Bates), a former nurse and as it turns out Paul's number one fan. She takes Paul back to her remote house to recuperate from his numerous broken bones. Except that she doesn't inform anyone of this. As it turns out Annie is also just a little bit unstable. When she discovers that Paul has killed off her beloved Misery, Annie becomes furious, holding Paul captive and forcing him to write a new Misery story which brings her back to life.
There's no doubt that the prime reason Misery is so much fun to watch is down to Kathy Bates' terrific performance as the unhinged Annie Wilkes. It almost feels like Bates should have been given dual credits for the film as she pretty much portrays two completely different characters. For much of the film's first act she appears to be the nicest, sweetest person you could ever wish to meet, full of homespun expressions and rustic, country girl wisdom. She may come across as a little odd and eccentric perhaps, but it would be easy to just put that down to the isolated state from society which she has created for herself. However we eventually begin to see the other side of Annie Wilkes, the terrifying and monstrous side of this deranged super-fan. And Bates is absolutely captivating in these scenes of transformation. The contrast that her cheery, sunny disposition flags up playing against the sadistic monster proves to be very humorous. Though she isn't quite the despicable monster I had expected with Bates giving the character a sense of depth and empathy. In the scene where she acknowledges how Sheldon will be wanting to leave soon I felt genuine sympathy for the character.
While it is Bates that really makes this film it would be unfair however to overlook James Caan's contribution to the film. Despite the fact that he is restricted either to a bed or a wheelchair for the large majority of the film, Caan does not allow that to detract from his performance. His Sheldon is quite an interesting creation, not acting in the typical way you might expect. He doesn't appear as terrified or defeated as would be normal, giving Sheldon a dry wit and a penchant for caustic remarks. It's fun watching their cat and mouse relationship unfold as Paul tries to outwit Annie by playing along with and even sympathising with her. Though in a way it doesn't seem like a completely negative experience for him, he seems to find it rather interesting and even motivational in regards to his writing. Perhaps he even thinks this is him getting his just desserts for the meagre work he has put out into the world. Caan also does a fine job portraying the levels of excruciating pain he is in. And while Misery is basically a two-hander between Bates and Caan the film also provides some fun little departures in the form of back and forths between the local sheriff and his wife/deputy. Played winningly by Richard Farnsworth and Frances Sternhagen, they share a very entertainingly cranky rapport and provide a few good laughs.
Prior to Misery, Rob Reiner's previous three films as a director had been When Harry Met Sally, The Princess Bride and Stand by Me. When you take into consideration just how large a departure Misery is from the light-hearted, romantic and nostalgic nature of those films I think Reiner deserves a good deal of credit for how he handles this drastic change of pace. You could say that the structure of the film may not require a great deal of work on his behalf but I feel he does an effective job of directing events throughout, particularly the moments of extreme suspense. With Caan confined to his bed for large stretches Reiner really makes the most of the occasions where Sheldon is able to escape from his one-room prison, ratcheting up the tension. I loved the sequence which depicts Sheldon's first foray out of his dungeon like existence. As he drags himself out of bed we can really feel the immense discomfort and pain the character is suffering, and Reiner than cross cuts back and forth between Sheldon exploring the house and Annie returning to the house. It may be a pretty typical 'race against time' scene, nothing particularly innovative, but it is nicely done. Reiner frequently films much of the movie from a low camera angle to give us Sheldon's point of view, placing us in his position. Such an approach also allows Reiner to frame Bates in an imposing and formidable light, mimicking the way in she towers over Caan's prone body. It's a very effective move at covering up for Bates' rather slight frame; she is actually only 5'3” but as she looms over us she appears to be giant.
Film Trivia Snippets - It might seem quite amazing when you take into account the likes of Stand by Me, The Shawshank Redemption and The Green Mile, but Misery is actually the only Stephen King adaptation to receive an Academy Award; Kathy Bates' Best Actress win. /// The role of Paul Sheldon took a long time to find its way down to James Caan. Before he got it the role had been offered to and turned down by William Hurt, Kevin Kline, Michael Douglas, Harrison Ford, Dustin Hoffman, Robert De Niro, Al Pacino, Richard Dreyfuss, Gene Hackman, Robert Redford and Warren Beatty. /// While the role of Annie Wilkes was initially offered to Anjelic Huston. Despite being interested Huston had to turn it down due to her commitment to The Grifters. Bette Midler also declined the role before it went to Bates. /// A scene that was left on the cutting room floor saw Annie kill a young police officer by repeatedly rolling over him with a lawnmower. Bates was reported to be very disappointed at its omission, but Rob Reiner took the decision as he was concerned the audience would find it funny.
It's also easy to see the events of Misery as a metaphor for conflicted artists all over the world. The Misery Chastaine novels that Sheldon writes are utter hokum but they find a wide audience and as a result are a great cash-in opportunity for him. But it doesn't make him happy. When he tries to write something actually worthwhile for once however, something of substance and close to his heart, he finds his work being censored by Annie in the form of her burning his work. She is the embodiment of the completely evil editor who will not allow you to showcase your talents, but wants you to keep churning out the same old stuff because its a dependable money-maker. I'm sure it's the life story of many a writer, film-maker, singer etc.
While Misery may most likely be placed in the horror genre it is never a particularly scary film; it seems a lot more concerned with being darkly funny and luridly entertaining. It may become a classic game of cat and mouse between the two individuals but the film never really throws any twists or shock surprises our way. Instead it provides its kicks of adrenaline as a result of sudden bursts of startling violence, the most obvious of course being the famous sledgehammer scene which really did elicit quite the wince and audible reaction from me. Great scene. Great film.
Conclusion - I went into this one expecting something rather dark and grim. Instead I was delighted to find that Misery was an extremely entertaining flick, full of dark humour and a fantastic turn from Kathy Bates. It takes the subject of an everyday horror and proves to be just a lot of fun.