Imported

In the Dark

In the Dark
ably for his psychic powers. (Tliat's low\r\nin the Dickensian sense, he explains.) hi\r\nthe novel, these pursuers have a provenance\r\nin the standard science-fiction\r\nconceit of a parallel universe. Tliey stand\r\nfor bullying forces of all sorts, power\r\nabusers—official or freelance—who take\r\nfor granted that they have tlie right to impose\r\ntheir will on others. Here, the film\r\ndeviates tendentiously and irresponsibly\r\nfrom the novel. While King leaves these\r\nlow men eerily and suggeshvely vague,\r\nGoldman has taken the astonishing liberty\r\nof injecting his own polifics into the plot.\r\nAs Ted worries about the low men in the\r\nfilm, we are given close-ups of newspaper\r\narticles. "FBI Announces New Measures\r\nto Apprehend Red hifiltrators," bellows\r\none tabloid headline; another seeks to\r\ncalm its readers: "Hoover Denies FBI Is\r\nRecruiting Psychics in Battle Against\r\nCommunism." Without saying it directly,\r\nthe film leads the audience to believe that\r\nTed had once been held capfive by the\r\nFBI and is now on the ideological lam.\r\nGoldman and Hicks probably think their\r\nunwarranted interpolation merely makes\r\nKing's conceit more accessible to a film\r\naudience that demands realism. Such is\r\nreality for Hollywood filmmakers: FBI,\r\nevil; communists, misunderstood. Old\r\nhabits die hard. It's probably nothing\r\nmore serious than vaguely leftish artists\r\nmindlessly falling into line with what they\r\nassume to be political righteousness....

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