THE DEAD ZONE

US/Canada, 1983, 103 minutes, Colour.
Christopher Walken, Martin Sheen, Brooke Adams, Tom Skerritt, Herbert Lorn, Anthony Zerbe, Nicholas Campbell, Colleen Dewhurst.
Directed by David Cronenberg.

The Dead Zone is an interesting, well-made version of a Stephen King novel. Direction is by David Cronenberg, the idiosyncratic Canadian director of such horror thrillers as Parasites, Rabid, The Brood, Scanners, Videodrome. Here, his rather flamboyant gory style is subdued to the atmosphere of King's novel. (King has been well served by directors for his films e.g. Stanley Kubrick - The Shining, Brian de Palma - Carrie, John Carpenter - Christine).

Canadian locations are used to good effect as New Hampshire. There is an atmosphere of what Cronenberg calls Norman Rockwell American Gothic. This serves as an atmosphere for a story about psychic phenomena - which also makes comment on the ills of the United States. Christopher Walken (Oscar-winner for The Deerhunter, star of Heaven's Gate, Brainstorm, Pennies from Heaven) is more sympathetic than usual in the central role. There is an effective supporting cast, including Colleen Dewhurst as a demented mother and Herbert Lom as a sympathetic doctor.

The climax focuses on aspects of manic American politics in the person of Martin Sheen as an ambitious and ruthless senatorial candidate with hopes for the Presidency. In a vision of the future, he is portrayed like a President Strangelove actually pushing the buttons and sending the missiles against enemies. This nuclear dilemma is the cause of the final crisis and the decision of the hero whether he should assassinate the senatorial candidate or not. It is of interest to note the nuclear focus for crisis in the atmosphere of films of the early '80s.

1. Enjoyment of a Stephen King story? His reputation, skill as a horror writer? Interest in the psychic phenomena?

2. The work of David Cronenberg and his horror violence? His interest in portraying society and its illnesses? His adapting his style to the mood of King's work?

3. The Canadian locations for the United States? American Gothic, Norman Rockwell style? Reality and unreality? The glimpses of the past, visions of the future? The importance of editing, shocks (e.g. the sheriff searching the upstairs room and scaring audiences?) Special effects? The score, use of instruments, mood?

4. The title? Its explanation - the zone in the middle of the vision and the possibility for John Smith to change the future? The dead zone and its responsibilities for John? The nuclear background for the final crisis? The parallel with an assassination of Hitler?


5. The atmosphere of the opening of the film: New Hampshire, the school, John reading the poetry, the lack of response of the children in the class, his focus on The Legend of Sleepy Hollow - and Ichabod pursued by the Headless Horseman? The later references to The Legend of Sleepy Hollow and the pursued teacher? friendship with Sarah, the affection in the corridor, outing, the final kiss in the rain, her invitation and his refusal? The build-up to the crash? The visuals of the semi-trailer crashing, the milk container across the road?

6. The focus on John Smith - and the universality of his name? The shock of the five years in coma? Audience reaction to this information? John's reaction? The doctor, his care and concern, the help? Information? The therapy - the walking, the gradual progression from wheelchair to walking sticks? His parents' visit - his patient and quiet father, his religious mother? Information about Sarah and her marriage? Her visit and awkwardness? His coping, the rehabilitation? The possibilities for his life? A new life - Sarah's visit? Seeing her child? Her offering herself for the sexual consummation of their love? Her later coming to his house for the political reasons, introduction to her husband?

7. The change in John's life with the holding of the nurse's hand and the vision of her daughter, the house on fire, his warnings, her safety? The press conference and the challenge of the television interviewer, holding his hand and the information about his sister's suicide, his reaction? The doctor and his hand, the memories of the war, his mother and the separation? The phone call and discovering that she was alive? John's psychic powers as a gift or as an affliction? His mother's reaction to the television interview, her religious response - his visit to her in the hospital, her seeing him as a little boy, her death and his grief?

8. The detective asking his aid in solving the murder mystery? John's fear and refusal? His watching the television interview after the evening with Sarah? His being moved by the detective's plea? The tunnel, the contact with the place of the murder and his not receiving any information? The news of the new murder? The contact with the girl? His re-living her experience, his grief at not being able to stop the murder? The information for the police, his seeing the face of the murderer? The sketch of character for the detective, his assistant? The assistant fleeing the scene? The pursuit to the house? His ritual upstairs and killing himself with the scissors? His demented mother, her reaction, the shooting? The drama of this particular episode? Its effect on John?

9. His experiences sapping his strength? His avoiding people, moving house? Resuming teaching? The visit of Stuart and the plea for his training of his son? The visit, the bond between the two, the boy's estimation of his father and his being encapsulated? Their sharing, working together? Friendship? John's vision of Chris's drowning? His anxiety, wanting to stop the game? Stuart agreeing but fobbing him off? The accident and Stuart's grief? John's tentative phone call and Chris being alive? His discovery that he could affect the future?

10. The discussions with Sam about his health, medical possibilities. Sam's studying the cases of psychic knowledge? His later putting to him the question about the assassination of Hitler with the knowledge of hindsight? Sam's decision for assassination?

11. The background of Greg Stillson? Meeting him at the Stuart home, the advertisements, his loud style, pushiness? His supporters? A third party in American politics? Sarah and her collecting and giving out literature for him? The interlude with the standover tactics with the editor, the blackmail? Stillson's right-hand man as a thug?

12. The build-up to the rally, the shaking of the hands, John's holding Stillson's hand, the vision of Stillson as President, the Dr Strangelove style of manic power, the pressurising of the General, the means for setting the missiles in action? The Vice President and the Secretary of State powerless? The effect on John? His anguish, the decision to assassinate Still son, to change the future? Getting the rifle, going to the hall, concealing himself overnight. Stillson's arrival with the talk and phoniness, the speech, John shooting and Stillson grabbing Sarah's baby, his cowardliness, the shooting of John and his fall? Stillson's anger and demanding the truth, John's second vision of the "Newsweek" cover, "No future for Stillson", his killing himself? Sarah cradling him in his death, love? Dying for others and for his cause?
13. The vicious aspects of American society in John's visions: the multiple murder, sex and madness, repressive mothers, dominant wealthy fathers, American politics, rallies, blackmail, brutal bodyguards, megalomania, suicide?

14. John Smith as the ordinary citizen, the victim of fate, a gift, giving his own life?

15. The blend of the horror and psychic genre? A piece of Americana? The final nuclear focus?