Stephen King’s work is succeeded by his skill in creating stories about people and what they have witnessed, rather than simply describing a series of events that are as grisly as possible, in which different images are passive. The grisly is only in man’s eyes, in his mind, and King knows it very well. The heroes created by the king of horrors inhabit stories, making choices and confronting the consequences of them. You might know that these choices often don’t lead to good ones, especially in the case of “Pet Sematary” protagonist Luis Krind (Jason Clark).
The ecranisation of the first novel, written by King in 1983, was created in 1989 by director Mary Lamberte working hand-in-hand with King himself, who made the film script, frequently stayed in the film area, providing advice, and played a priest in one of the scenes. The directors of the new ecranisation, Kevin Kolsh, and Dennis Vidmaier, have allowed artistic freedom and moved the story into a slightly different bed, changing the course of events, but minimal (you will be familiar with the changes if you viewed the film’s promotional materials).
It’s been 30 years since the original film premiere, but the new filmmakers are still aware that professional makeup and master hand-made prostheses look better than modified images of computer graphics. One of the makeup artists, Kathy Tse, has helped shape the visual images of “X-Men” series and “mother!” movie heroes. In the latest ecranisation of “Beef Captures”, even a cat named Churchill was reached by the special touch of the artist’s brush, which can certainly be described as one of the key characters of the story. It is also the performance of film operator Lori Rouz, providing visual-pleasure frames to the viewer (you will also find work on the “Peaky Blinders” series in her filmography).
It seems that when he works at the Beef Cemetery, King certainly took inspiration not only at the events of private life (that is, the need to explain to his children their cat’s death on the back road) but also in Mary Shelly’s story about the monster created by Dr. Frankenstein. Also, the creatures described in King’s novel and depicted in the film that come back from death belong to the one who dusted them, namely their creator. The impact of other works written by King is also noticeable, such as an indication of the supernatural ability to feel future events, or “shining”, as King himself would call it. This is seen in Ellie’s image in the 1989 adaptation and Geelong’s image in the 2019 film. The theme repeats in several of Kering’s works, the most familiar of which is a novel titled “The Shining,” (1977) and its subsequent adaptation of Stanley Kubrick’s 1980 s.
In the eyes of the incredible events experienced by the Cried family and the sometimes frenzied behavior of the Bendigo, a North American indigenous deity living in the forests behind Louis’s newly acquired home. The authors of the organizations of both “Beef graves” have chosen not to put this creature on the screen. Perhaps this is what helps to maintain a feeling of fear – someone has always been more afraid of the unknown, unfathomable. Every rhythm of life is managed by a question that never leads to an answer, namely, what will happen to us after death? What exactly does the life-and-death cycle mean, how to accept it, and can it get out of it?
These are issues that advance the substance of King’s text. Although the changes made to the story’s ecranisation initially appear to be the opposite of the original text author, they do not harm the very essence of the story, which consists of the existential issues mentioned above. The new ecranisation of “Beef graves” lies behind the blockbuster status of a Hollywood studio, but when you visit a cinema, the viewer will encounter something else. Stephen King’s adherents are expected to be productive this year – with three new movie adaptations, not including “Beast graves” – “IT – Chapter Two”, “In The Tall Grass” and, of course, “The Shining” sequel to “Doctor Sleep.”