SLEEPWALKERS

US, 1991, 92 minutes, Colour.
Brian Krause, Maedchen Amick, Alice Krige, Cindy Pickett, Ron Perlman. Cameos: Dan Martin, Joe Dante, John Landis, Tobe Hooper, Glen Shadix, Clive Barker, Mark Hamill and Stephen King.
Directed by Mick Garris.

Sleepwalkers is a Stephen King story, written directly by him for the screen. (He also appears briefly as the caretaker of a cemetery.)

The film relies on the tradition of Cat People - though with a variation because the cats are able to see through these sleepwalkers and ultimately destroy them. The film focuses on two of the last changers of shape, a mother and her son, isolated in Middle America. For survival (echoes of vampire and werewolf themes) they rely on the life force of a virginal girl. Once they drain the girl of life, they have to be continually on the move. However, in the model community of Travis, Indiana, they are finally destroyed. The local cats contribute vastly to this destruction.

The lead is Brian Krause, from The Return to the Blue Lagoon, who is able to be charming and then turn into the monstrous shape-changer. His mother is played by Alice Krige, who enjoys herself in a role with overtones of incest, destructiveness as well as diabolical monstrousness. The heroine is Maedchen Amick from Twin Peaks, who is a charming and sturdy heroine. In the supporting cast are Ron Perlman and Cindy Pickett as well as guest moments from directors John Landis, Joe Dante, Tobe Hooper as well as writer Clive Barker. Mark Hamill appears in a cameo in the opening sequence.

There is a certain crassness in the language choice and writing of Stephen King which is evident in the film. While the running time is brief, the opening sequences seem somewhat padded as Charles is established as the charming young man while the audience knows that he is a monster. However, the film gradually changes in its tone, building up to a dramatic and gory climax.

1. The popularity of Stephen King's work? The horror overtones? The delving into the mysterious, the shadow and animal side of human nature? Drawing on legends of vampires and werewolves? His writing for the screen?

2. The quality and tone of the screenplay, characterisations and situations, language, the techniques and conventions of horror? The explanation about the shape-changers from the encyclopaedia at the opening? The visual impact of the facial changes, the monstrous body changes, the special effects as well as the demon monsters at the end? The special effects for the changing of the car?

3. The title and the focus on the sleepwalkers, the slashes on the screen, the opening sequence with the death of the girl, the cats strung up, the occupants of the house vanished? The response of the police?

4. Mary and Charles, at home, the conventional American family? Charles and his looking at the high school book and choosing Tanya, listening to the music? Carving the T on his arm? With his mother, discussions about the meals, the relationship between the two, sensual and sexual? Their dancing? The mother's starvation?

5. Charles in the town, the ordinary good-looking young man, the discussions with Tanya at the cinema, her dancing, the popcorn and the drink? The offer to take her home? His charm? Her letting him in free? Meeting her at school, his reciting the story (autobiographical about his loneliness) and her response? His gratitude towards her, taking her home, meeting her mother? The discussions about the photos? His taking her out - and the pressure from his mother to kill her and bring her home?

6. The sinister change in the film, the literature teacher, his response to Charles, to the story, the blackmail, Charles defending himself, the teacher knowing the documentation was false, the homosexual advance, the destructiveness with his hand? The pursuit by the police, Charles and his reckless driving, almost killing the children? Confronting the policeman, his face changing shape? Making the car and himself disappear? Outwitting the police but returning home frightened and scarred? His mother sewing his arm?

7. Tanya at school, chatting with the girlfriends, listening to Charles's story and her response? The bond with her parents? Yet attracted to him and a touch of loneliness? Meeting her mother, going out, the picnic? Her arriving at the Brady household, the ambiguous conversation with Mrs Brady and the tour of the house? Her photos, at the cemetery, taking the photos, the brass rubbings (and Charles's explanation to Mrs Robertson), the embraces, Charles changing, the violence and viciousness, the changing of shape, her hitting him with the camera? His injuries, her hurried escape? The policeman arriving, the confrontation, his death and shooting Charles?

8. Charles's return home, his injury, inability to fade, his mother's grief and care for him? His dying? Mary and her confrontation of the police, her destructiveness? Her going to the Robertson household, destroying the mother and father, taking Tanya after killing the police? The ominous cats always outside the house (and the failure to trap any of them)? Driving into the house, making Tanya dance with the dead Charles? The arrival of the police, the attack of the cats - especially the policeman's cat, Clovis? Her turning into a diabolical figure, the cats destroying her, in flames, coming to Tanya in the car?

9. The police, their disbelief? The police guarding Tanya and her family? The police chief? The brutal captain Soames? Mary Brady and her destruction of the police including the chief?

10. Tanya and her parents, their concern after the episode in the cemetery? Mary Brady's attack?

11. Tanya, the experience in the cemetery, going to the house with Mary Brady, the horror of the dance with Charles? Her attack on Mary and her strength? The shattering experience?

12. The background of the police, the laboratory assistants, the deputy sheriff?

13. The ordinary world of the Middle American town - as a scene of a confrontation between good and evil?