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Posts Tagged ‘Kyliegh Curran’

We have, of course, previously discussed the question of the Optimum Period Before Sequel, and whatever your personal views may be, I think most people would accept that waiting forty years to do a follow-up is really pushing the boundaries of common sense. Then again, it might be somewhat more excusable if the sequel wasn’t exactly a sequel per se. Which of course brings us to Mike Flanagan’s Doctor Sleep, based on a novel by Stephen King, which was itself a sequel to his earlier book The Shining. This means that Doctor Sleep is, by some metric at least, a sequel to Stanley Kubrick’s 1980 film adaptation of the novel. King famously hated the changes that Kubrick made to the story and disregarded them in the second novel. So where does this leave the film? Is it going to stay faithful to King, make the most of its connection to the iconic and very well-regarded Kubrick film, or somehow try and split the difference and risk satisfying no-one?

The prospect of a potentially pedestrian cash-in on The Shining made my heart sink, and it’s not even as if I’m a particular fan of that movie; the fact that Doctor Sleep actually manages to be slightly longer than its sizeable forebear did not help lift my apprehension as I approached the movie. And the opening of the film hardly seems designed to dispel these sorts of concerns – straight away they reuse one of the most famous music cues from the older film, and there is a sequence with a painstaking recreation of the hotel set, right down to that very distinctive carpet (which may or may not intentionally replicate the layout of the Apollo 11 launch pad).

The story proper gets going with young Danny Torrance struggling to come to terms with the frightening ordeal he and his mother went through in the snowbound Overlook Hotel in Colorado, something made only worse by his burgeoning psychic ability. Helping him in this respect is Hallorann (Carl Lumbly), the former chef at the hotel. Here, of course, the film hits its first real crunch point – is Hallorann a living mentor or a ghostly apparition? (He survives in the novel, but is axe-murdered in Kubrick’s version.) Suffice to say the early scoreline is Novelists 0, Film Directors 1.

Danny eventually grows up into Dan (Ewan McGregor), a lonely drifter haunted (sometimes literally) by his past, who tries to suppress his psychic gifts through drink and drugs. Eventually he pitches up in a small New Hampshire town, where the kindness of one of the locals (Cliff ‘Maori Jesus’ Curtis) allows him to settle and build a life for himself, using his power while working in the local hospice. (Here he is known as ‘Doctor Sleep’.)

However, he is not the only gifted individual in the world, and the film also follows a group of others: a pack of vicious and sadistic vampire-like killers who devour the souls of psychic children. The fact that they resemble Fleetwood Mac on tour may make them slightly less terrifying, or perhaps not. Their leader, Rose the Hat (Rebecca Ferguson), eventually identifies a powerful young girl named Abra (Kyliegh Curran) as their next victim.

However, Abra is a sort of psychic pen friend of Dan’s, and she recruits his aid in helping stop the hunters’ reign of terror. Faced with an enemy whose powers may outstrip his own, Dan is forced to choose the ground for their eventual confrontation carefully. Could it be time to make a reservation at a certain hotel he was once a resident in?

Making adaptations of Stephen King books is hardly a time-honoured path to sure-fire success, and doing films derived from Kubrick movies has likewise been a slightly dodgy prospect in the past. This, together with the enormous duration of Doctor Sleep, gave me some trepidation as I approached the film – but, rather to my surprise, it turned out to be a very superior dark fantasy movie, filled with the traditional narrative virtues and with a great deal to commend it. It may not have the magisterial clarity and formal brilliance of The Shining, but neither is it quite as oblique and impenetrable – The Shining is an undeniably impressive piece of work, but Doctor Sleep is possibly a lot easier to like, simply because it is so much more conventional.

I hasten to add that there’s nothing wrong with being conventional when it results in a film as satisfying as this one: the story hits all the right beats, the story is well-told and resonant, and the characters are well-drawn and given space to breathe and come to life. As well they might, given the film is over two and a half hours long – but we will come back to the issue of the film’s duration. Quite how effective it is as a pure horror movie is another question – as noted, it mostly resembles a thriller or a dark fantasy more than anything else, but there are moments where it does get very nasty, and does so very quickly. I imagine there is enough here to keep fans of the genre satisfied.

The acting is certainly of the standard you would hope to find in a reputable movie: McGregor is on fine form, and there is a remarkably self-assured performance from Kyliegh Curran. The only one who really puts a foot slightly out of place is Ferguson, whose performance is just a touch too affected to really convince – then again, she is given a character with a trademark hat, an Irish accent and a lot of hippy-dippy stylings, so it’s hardly the easiest of gigs.

Does it really need to be quite as long as it is, though? Well, frankly, I’m not sure. It certainly gives you the sense of reading a King novel, where a lot of time and space is often devoted to establishing characters and settings before the action proper kicks off, but even so the film sometimes feels like it’s dragging its feet a bit. You know that traditional scene where someone comes to the hero for help, but he initially refuses, before changing his mind and engaging with the story? The one which marks the start of the narrative proper? Well, that one is in this film, it just happens over an hour into it. It’s not like the film actually feels padded or boring, but it does feel like it could have been shortened without losing too much of its impact.

One impressive thing about it is that once the opening is out of the way, it works very hard to stand on its own two feet without constant call-backs to The Shining. This means that when the film does finally head in this direction for its final act, it feels almost as if it has earned the right to do so: it is an undeniably thrilling moment when the nature of the climax becomes apparent. The recreations, when they come, are every bit as good as the ones in Ready Player One. It looks for a long time like the film is going to dance around the whole issue of Dan’s father, but the utterly thankless task of trying to reproduce Jack Nicholson’s bravura performance is eventually given to (if my research is correct) an uncredited Henry Thomas, who does the very best he can in the circumstances.

I have to say that, along with the length, it’s the climax of the film which would cause me to knock off a star, if I awarded such things – it feels appropriate and isn’t ridiculous, and no doubt Stephen King will be delighted by the fact it is partly drawn from the original Shining novel. But something about it just doesn’t quite ring true, and you do get the sense the film is wallowing just a bit too much in the chance to revisit Kubrick’s take on the story. But this is still a fairly minor quibble. Doctor Sleep is still a cut above the majority of Stephen King adaptations, and a very satisfying piece of entertainment. Provided you can handle the nastier moments, this is well worth seeing.

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