Misery | Lauren Bacall, Kathy Bates | "I'm your number one fan..."

Misery | Lauren Bacall, Kathy Bates | "He Didn't Get Out of the Cock-A-Doo-Dee Car!!!!!!!!"

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Misery

	Misery Lauren Bacall, Kathy Bates MGM (Video & DVD), 2000 average customer review:based on 175 reviews view larger image
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highly recommended

"I'm your number one fan..."

What makes `Misery' so brilliant is the chemistry between Kathy Bates and James Caan, and while their relationship is all about lack of chemistry they work so well together everything seems natural, everything seems real. And that in itself makes Kathy's character of Annie Wilkes one of the most disturbingly scary creations in cinema.

Brilliantly adapted from Stephen Kings novel of the same name, `Misery' tells the story of acclaimed author Paul Sheldon who has just finished his latest novel, a departure from his collection of love stories involving a girl named Misery. In the air or tradition Paul visits the same Inn he visits as he finishes every novel, but on his way home he is caught in a blizzard that causes him to wreck. He would have died if it weren't for his number one fan who pulled him from his car and decided to take it upon herself to nurse him back to health.

What at first seems like a kind gesture transforms into heated and violent obsession as Annie keeps Paul hostage in her home, leaving him crippled in his bed to write for her. She insists that he writes her his masterpiece in dedication to her for saving his life.

It's Bates performance that makes this a memorable film, genuinely thrilling and believable, and as the film progresses we see so many layers to her character, showing us what on the outset could be perceived as pure insanity but upon further study is more sheer depravation and loneliness. I'm ecstatic that she won the Oscar for this. Believe me when I say I'm a huge fan of Caan, but he has nothing on Bates electric performance. I've never read King's novel, but I'm anxious to do so. I'm sure it's just as good if not better than this movie, but this movie stands alone as a true cinematic masterpiece.

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"He Didn't Get Out of the Cock-A-Doo-Dee Car!!!!!!!!"

Misery by Stephen King- WOW, thats all I'm going to say. Both Cann and Bates exectute their roles in this film flawlessly. Misery Chastain will keep you on the edge of your seat from start to finish, I promise you.

The film starts off with Paul Sheldon cruisin' in his mustang after just finishing his manuscript for a new book. But he doesn't stay happy for too long, as a nasty blizzard moves in and causes his mustang sally to topple down a Colorado mountain.

Paul has no fear though, cause Annie Wilkes is right nearby to save him (we later find out she was following Paul). It is once Annie gets Paul settled in her country Colorado home that the terror begins!!! King reels viewers in slowly, but not long after Paul is hoping to recover we realize what Annie's true intentions are.........don't rent; BUY IT!! ITS THAT GOOD!

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Great movie to watch over and over again!

I loved this movie! It's a great thriller!

Paul Sheldon, an author of a bestselling series, has decided to stop his series by killing off his main charactor. In his car one snowy night he has a car crash and is stranded. Luckily (or not so luckily) a lady finds him and brings him back to her house. The lady nurses him back to health and puts a cast on his broken leg. It turns out that the lady who found him is a crazy fan of his books and after reading his last book, and finding out that the main charactor dies, isn't so friendly (to put it mildly).

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"Give me.... your dirty love!"

Rob Reiner's 1990 adaption of Stephen King's Misery is a film that works for various reasons, a few of which I will touch on here. The most obvious reason is of course the Oscar winning performance of Kathy Bates, as nut job Annie Wilkes. Playing a dangerous psycho as opposed to just another straight person is already the actors equivalent of being a peacock in a room full of pigeons, but it is all the more stricking here because both Kathy Bates and Rob Reiner are entirely on the same page, that is to say, they both seem to understand precisely what makes Annie Wilkes tick, and what makes the movie tick for that matter. You can look at this movie as simply the story of a misfortunate man at the mercy of a monster, who in the end, must truimph over this monster by killing it, or you could see it in a more darkly subversive light.
The darker subversive light to this story, is to see it as a tragic love affair. It can be seen as a story in which a delusional person ( Annie Wilkes ) thinks that the object of her desire is something more then an ordinary man, so she built him into a God that should be placed on an alter, high on a pedestal. Just like some kind of childlike innocent, her admiration of him is of the most idealistic variety, and seems to be platonic and almsot spiritually based. She spends most of the film wallowing in a sort of self made torment of keeping her love object at arms lenth, where instead of culminating her true bodily cravings, she instead idolizes and worships her object while living forever in her own little fantasy dream world that has no place for such lewd lascivious base hungers. The problem here is that these types of feelings are what normally hits a young shy teen boy durring his first ever crush, not a grown woman facing middle age. Every action Annie Wilkes takes is to abstain from the unavoidable culmination of their eventual coitus, thus when the act of sex finally happens, it is explosive, volatile, and violent, it shatters her delusional bubble. The subversive sex act itself involves blood, fire, biting, beating, the climactic firing of her viral maleness, and some extremely raunchy sex talk, in fact, it is the first time Annie Wilkes uses real adult language rather then her amusing "Cock-a-doo-dee" speak. Not to be outdone by Annie Wilkes sudden sexually charged emergence, Paul Sheldon ( James Caan ), her love object shoves burning paper into her mouth and yells the movies most memorable line " HERE YOU WANT IT?! EAT IT!! EAT IT TILL YOU CHOKE YOU SICK TWISTED.....!" Yes, the sex talk gets down right dirty and full of imaginative urgent energy. The action finally ends with the two of them lying side by side on the hard wood floor, a hitherto never before seen look of fullfillment etched on her burnt and bloody face, while her love object pants from all the exertion spent to quell this passionate violent act, it would seem that the only thing missing is that they are not smoking cigarettes.
Since sex is arguably the main reason we are alive, and is possibly what holds the candle to our very creative energy, it is hard not to see this film play out in this more subversive way. I feel that both Kathy Bates and Rob Reiner captured this aspect of both Annie Wilkes and the film perfectly and deliberately. On a sidenote, I think Annie Wilkes is the male in this twisted realationship, capable of giving her object a nice firemans carry with sturdy vigor.
The others aspect of this film to point out is the concise stream-lined direction by Rob Reiner which makes viewing this film such a pleasure. Each scene is just the right size and has just the right amount of spice to keep things moving, seemingly without effort. Maybe I am becoming old and refined in my ways, but I can't stress enough the importance of not overdoing something, and keeping things singular and simplistic in nature. The bad aspect is that once again writer Stephen King has taken an existing movie, in this case its "What Ever Happened to Baby Jane" 1962, and passed it off as his own inspired ideas. His plagiarizing continued with other such works as TommyKnockers, ( Five Million Years to Earth 1968 ) and Christine, ( The Car 1977 ) , but its hardly a knock on Misery, which holds its own very nicely thanks to aspects that were picked out in the acting and directing.
Misery is a good bit of entertainment to keep in your collection, and a very affordable and abundant movie to find, at least untill they release a 20th anniversary addition or something, full of extras the current release does not have.

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Alan Bates. . .eat your friggin heart out

The character of Annie Wilkes has got to be the psycho to end all psycho's in movie cinema. Mostly because she is self restrained most of the time, without going overboard, in regards to her "home sweet home" demeanor, while hiding a carefully guarded skeleton in her demented closet. The biggest tip offs to her unstability is, of course, her outrageous temper tantrums, and her incredible sense of possesion for the things "she loves."
It's unfortunate for the man she saves, has now become one of her most prized possesions, while he's healing himself in her home thinking help is on the way, but can't due to current snowstorms. She never makes the call.
And while he is waiting, she discovers an awful secret of his. The man, who happens to be an author of her favorite literary fictional female character, has come to terms by ending his writing career by killing the female character off in his final book.
And that's when hell, breaks loose!

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