“Salem’s Lot,” a much-celebrated novel by Stephen King, has remained popular for nearly five decades and has already seen two adaptations. The story, set in the seemingly quaint Maine town with a hidden vampire problem, makes a return under Gary Dauberman’s direction. Initially planned for a theatrical release, the new feature has been redirected to Max. It embraces a 1970s aesthetic while attempting to capture the essence of King’s original story, but falls short in some critical aspects.
The challenge of adapting “Salem’s Lot” into a film under two hours is evident, as the novel, like many of King’s works, is extensive. Previous adaptations have taken the form of TV miniseries, allowing more time to delve into the characters and setting. In King’s novel, the protagonist, Ben Mears—portrayed by Lewis Pullman—shares the narrative with various town residents, each with their own complex backgrounds. The novel meticulously unravels the town’s sinister undercurrents before the supernatural elements emerge.
A significant portion of King’s narrative is dedicated to the Marsten House, a decaying mansion with a dark history that looms ominously over the town. This landmark plays a crucial role, symbolizing the hidden malevolence within ostensibly idyllic communities. In the novel, Ben Mears is drawn back to the town, partly due to his childhood memories of the Marsten House, which is ominously suggested to be linked with evil, making it an apt headquarters for the vampire menace.
However, Dauberman’s adaptation appears to downplay the Marsten House’s central significance. Its history is quickly glossed over in the opening credits montage, brief dialogues, and a few scenes involving library research. While some deviations from the source material are expected in any adaptation, providing sufficient context to new audiences is crucial for a coherent and gripping narrative.
The portrayal of Ben Mears is particularly lacking in this adaptation. In the novel, Ben is haunted by past experiences in the Marsten House and the recent loss of his wife. These details are missing in the film, which portrays him merely as a semi-successful author seeking inspiration by revisiting his childhood town, following his parents’ deaths twenty years earlier. Pullman’s performance lacks depth, and his character’s interactions with Susan Norton (Makenzie Leigh) and local teacher Matt Burke (Bill Camp) feel surface-level.
As the plot progresses, Ben’s circle expands with the inclusion of Dr. Cody (Alfre Woodard), Father Callahan (John Benjamin Hickey), and young horror enthusiast Mark Petrie (Jordan Preston Carter), as well as the escalating threat from Richard Straker (Pilou Asbæk) and his vampire master, Kurt Barlow (Alexander Ward). Despite these additions, the film fails to convincingly convey the overarching sense of dread and the idea that the town’s doom is a cosmic inevitability, a crucial aspect highlighted by the sheriff’s random observation about the town’s dying state.
The script suffers from other issues, including heavy-handed foreshadowing, but Dauberman’s dedication to capturing the 1970s setting, as in King’s book, is a highlight. The production design and cinematography evoke a retro charm, and the inclusion of a drive-in theater adds an interesting period-specific detail.
Unfortunately, the special effects do not maintain the vintage feel, particularly in one notable CGI sequence. While the film introduces more gore than previous adaptations, benefiting from not being made for broadcast TV, it does not overwhelm. However, it lacks true fright, relying heavily on jump scares and clichéd character decisions to build tension.
Overall, this “Salem’s Lot” adaptation is entertaining and follows the main storyline but does not offer much new, aside from the drive-in scenes. The lack of the creeping dread and the nuanced evil of the Marsten House renders it an adaptation that is both faithful yet missing vital elements. While not a bad film, it seems appropriate for a streaming release rather than a theatrical one, especially as a seasonal Halloween viewing option.
“Salem’s Lot” is set to premiere on Max on October 3.