MISERY

Kathy Bates

MISERY (1990). Director: Rob Reiner. Based on the novel by Stephen King.

"If you don't enjoy your own company, you're not fit company for anyone else." -- Annie Wilkes.

"You'll never know the fear of losing someone like you when you're someone like me." -- Ditto.

Novelist Paul Sheldon (James Caan of Games), who made millions writing about a woman named Misery, has just finished a new book with which he hopes to get more respect as an author. After a car accident he winds up at the home of his "number one fan," Annie Wilkes (Kathy Bates of Cheri), who tells him that the roads are impassable due to a blizzard and the phone lines are down. In reality, Annie wants to keep the bedridden, crippled Paul all to herself. As the weeks go by Paul realizes that Annie is keeping him prisoner and cutting him off from the world and everyone who knows him. He also comes to realize that Annie is a truly dangerous sociopath ...

James Caan

Misery is an enjoyable and absorbing picture that focuses on a frightening dilemma for the protagonist who finds his situation becoming more and more sinister with every day. However, the characterization in the film is lacking, with Paul being a one-dimensional "famous author" and not much else -- you really don't learn much about him except that after making lots of money he now wants the critics' respect. You learn a bit more about the psychotic Annie, who has probably had a long career of killing people, but the origins of her psychosis are never explored.

Desperate struggle: Bates vs. Caan

Kathy Bates won a Best Actress Oscar for her work in this film. Although she's good in her own understated way, I didn't think her performance was Oscar-worthy back when the film was first released and I don't think so today. She often seems over-rehearsed. James Caan, who in general (despite some perfunctory moments) gives a more solid performance in a much, much more difficult role, wasn't even nominated. Reiner's direction is good even if it seems by the numbers at times, and the film could have been cut by a good twenty minutes, tightening up the tension and the pacing. Richard Farnsworth is fine as the cop "Buster," as is Frances Sternhagen [Outland] in the tiny role of his wife. Lauren Bacall is similarly good in the small role of Sheldon's agent.  And we mustn't forget Misery the pig, the cutest hog since Babe.

An amusing sequence has Annie railing about how the cliffhanger serials she saw as a girl often cheated, showing a car with the hero apparently trapped inside going off a cliff one week, and then inserting the hero jumping out of the car beforehand in the next episode. On this, the deluded Annie is mostly right, although there were some serials that played fair.

Verdict: Fun movie with some truly horrifying moments and one pretty good shock. ***. 

AT MOTHER'S REQUEST

Stefanie Powers

AT MOTHER'S REQUEST (1987 two-part telefilm). Director: Michael Tuchner.

Frances Shreuder (Stefanie Powers) basically tells her son Marc (Doug McKeon) not to bother coming home unless he goes ahead and murders his grandfather (E. G. Marshall). According to Marc's story, he didn't really want to do it, but it's debatable if that's true or not. Frances' mother Berenice (Frances Sternhagen) is appalled at how Marc accuses his mother during her trial, making one wonder if she really doesn't know her daughter was involved or just doesn't care. This is the second telefilm to deal with the real-life murder case that takes place in Utah and New York, and it is inferior to Nutcracker: Money, Murder and Madness. Powers [McLintock!] isn't bad in the role, but for the most part she fails to deliver the showier, dramatic and much more visceral portrayal of Lee Remick. McKeon is also not bad, but somehow a cut below Tate Donovan in the competing film, and Sternhagen [The Mist], while generally a fine actress, is no match for Elizabeth Wilson in the same role. Corey Parker is pretty good as Marc's brother, Larry, who goes off the deep end. With only three hours to work with instead of four and a half, At Mother's Request isn't quite as detailed as Nutcracker, with us not learning much about some characters, such as Frances' father and her two sisters, but the script is still mediocre. This version is not as slick and compelling. The people in this version seem even worse, if that's possible, than the ones in Nutcracker.

Verdict: Major Family Dysfunction -- but stick with Nutcracker and Remick. **1/2.

FEDORA

Fedora (Marthe Keller) accepts her Oscar

FEDORA (1978). Director: Billy Wilder.

"Moral turptitude. You can have six husbands but you can't have one illegitimate child. Now you can have no husbands and six children and nobody cares."

Years ago Barry Detweiler (William Holden) once had a fling with the famous actress, Fedora (Marthe Keller). Now she's a recluse in Corfu, living on an island with an old countess (Hildegard Knef) and her doctor (Jose Ferrer of The Shrike). Detweiler, who is now a rather desperate producer, tries to use this slender, long-ago connection to the woman to coax her into coming out of retirement, especially as she looks many years younger. But Fedora's associates seem determined to keep her out of the limelight ... Fedora was pilloried by many critics when it came out primarily because it wasn't Wilder's earlier "Hollywood" picture, Sunset Boulevard, which has many similarities to Fedora (Holden stars in both movies and in each gets involved with an aging actress who is no longer in the business.) Taken on its own terms, however, Fedora is a fascinating picture, not quite a Gothic horror story, that examines image vs reality, irresponsible and tragic behavior, and in the end unravels a decidedly bizarre deception. Marthe Keller was criticized for her work in the film, but she actually gives an excellent performance, far outstripping the others, especially Holden, who seems completely listless. Mario Adorf makes an impression as the Corfu hotel manager. Miss Balfour (Frances Sternhagen of Outland), Fedora's companion,  is almost comically evil and the picture is a trifle overlong. Still, it is a worthwhile companion piece to Sunset Boulevard with its twisted and tragic story. Based on the novella from Thomas Tryon's "Crowned Heads."

Verdict: Weird old Hollywood story generally well-told. ***.

OUTLAND

Frances Sternhagen

OUTLAND (1981). Writer/Director: Peter Hyams.

In the future, a mining colony has been established on Io, the third moon of Jupiter. The new Marshall, William O'Neil (Sean Connery), investigates when there is an increase in grisly suicides, and discovers something rotten in the state of Io: illegal drugs are being offered to workers to increase their productivity but it eventually makes them psychotic. When Sheppard (Peter Boyle), the head of the operation, realizes that O'Neil is out to shut him down, he enlists the aid of two hit men to come to Io and finish off the Marshall, who can expect no help from anyone, including his men. The only exception is the feisty Dr. Lazarus (Frances Sternhagen). This is basically High Noon in outer space. Connery is okay although it might be said that he's just going through the motions, betraying no sense of moral outrage over what's happening to the miners. Sternhagen is simply terrific. The special effects are solid and still hold up thirty years later. Fine score by Jerry Goldsmith.

Verdict: Not exactly original but an interesting variation on a theme. ***.