George A. Romero’s Hidden Gem: The Dark Half

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#6 in my ranking of George A. Romero’s filmography.

George Romero had long-awaited the opportunity to direct a Stephen King novel adaptation, and that was “The Dark Half“. Despite some initial misinterpretations of his original source material in “Monkey Shines”, “The Dark Half” stands out as more effectively crafted with a chilling sense of horror and intrigue. Although I haven’t read the book, it seems that some vagueness regarding the true nature of the danger might stem from the source material itself. However, these uncertainties are not substantial enough to detract significantly from my overall appreciation of the film.

Thad Beaumont, portrayed by Timothy Hutton, is a writer who, during his childhood, underwent surgery to remove a vestigial twin from his brain due to persistent and disabling headaches. As an adult, his wealth comes from novels written under the pen name George Stark, featuring the tough-as-nails detective character Alexis Machine. After publishing three books under this alias, Thad decides to retire the Stark persona, a choice that finds strong approval from his wife Liz (Amy Madigan), as she believes Thad transforms into Stark while writing the Alexis Machine novels. To mark this transition, they stage a small publicity event where they “bury” Stark in their hometown of Castle Rock, in the Beaumont family graveyard. However, a series of murders soon ensue.

The intrigue and misdirection in the storyline is impressive since it makes you think one thing is happening, only to reveal later that it’s a deception. I rarely get fooled, so when the movie kept me guessing about Thad being the culprit for a prolonged period, considering how long it seems unnecessary now, I find that impressive. The murders are actually aimed at individuals involved in George Stark’s “death.” For instance, the first victim was the photographer who publicized the situation in the magazine, which eventually caught Castle Rock sheriff Alan’s (Michael Rooker) attention. However, it’s peculiar that Thad’s fingerprints were found on the truck where the photographer perished; yet, he claims to have been in New York at the time of the crime.

Essentially, the situation involves a resurrected version of George Stark, who emerged from the site of the sham ceremony, intending to murder anyone hindering Thad from continuing to write books under the pseudonym George Stark. However, I find myself questioning the precise nature of Stark in certain parts of the narrative where the struggle between Stark and Thad becomes somewhat ambiguous.

One thing that bothers me is that it’s too long, and the action seems drawn out, particularly in the second act after we’ve discovered the connection between Thad and Stark. It feels a bit draggy, if you know what I mean.

Despite having eluded the authorities and leaving a trail of destruction in his wake, Stark opts for an intense and prolonged finale: kidnapping Thad’s family, Liz and their newborn twins, at their secluded cabin in Castle Rock. This sequence carries on the recurring symbolism of sparrows seen since the film’s beginning, adding a sense of darker, more expansive magic that King borrows from his Lovecraftian influences. The sparrows play a chilling role in the climax, contributing to the ominous atmosphere. In contrast to similar sequences in films like “Monkey Shines,” where the danger seemed laughable and campy, this ending is genuinely grim and unsettling, skillfully building tension that escalates into genuine horror. I found the last twenty minutes particularly gripping.

One concern I have about the movie is the role of Sheriff Alan. While it seems his purpose is to keep viewers informed on the progress of the investigation, his close friendship with Thad makes him too lenient towards him. Despite having ample reason to arrest Thad under suspicion, he often lets him go freely. A possible solution could have been for Thad to spend a night in custody and Stark committing the crime while Thad was there, but it appears that maintaining the mystery surrounding Thad and Stark’s relationship was more important.

Despite some issues with pacing and excessive development in the middle section, I found myself quite engaged by “The Dark Half“. The performances are strong, particularly Hutton who relishes playing both facets of a single character, while everyone else holds their own in their respective roles. Romero has transitioned into a more conventional director compared to his early days in Pittsburgh, yet he handles this transition skillfully. Gone are the intricate sequences meticulously pieced together during editing; instead, he opts for longer takes and gives actors room to shine naturally.

I find this among the top-tier adaptations of King’s works. Compared to Pet Sematary, it seems more cohesive as a storyline due to Romero’s ability to portray a continuous narrative rather than just key moments. He truly excelled at filmmaking.

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2025-03-02 00:30