Directed by:
Zak HilditchScreenplay:
Zak HilditchCinematography:
Ben RichardsonComposer:
Mike PattonCast:
Thomas Jane, Molly Parker, Brian d'Arcy James, Neal McDonough, Dylan Schmid, Kaitlyn Bernard, Anna Louise Sargeant, Tanya Champoux, Eric Keenleyside (more)VOD (1)
Plots(1)
Thomas Jane plays Wilfred James. Tied to his farm because of both his fear of the city and the importance that the farm has played as it has been passed down from his father and grandfather, Wilfred is in constant conflict with his wife Arlette (Molly Parker) who wants to move. When Arlette decides to leave him for the city and make his property worthless in the process, Wilfred is forced to take action to stop her and he manipulates their son Henry into helping him. (Fantastic Fest)
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Reviews (7)
A rare spectacle, where the template is a melancholic gloomy story from the olden days, where distress leads a man of simple values to a desperate act, after which everything begins to deteriorate – and the adaptation is a melancholic gloomy story from the olden days, when the exact same thing happens. Perhaps the fact that Stephen King's novella is relatively short is to blame for it, but all the unforgettable images that I couldn't get out of my head even after years are here with the same power as on paper. The act, the cow, the trumpet, the visions, the hand, the revelation, and the finale. In both media, this ballad about a Nebraska farm suffers only from the fact that it mainly thrives on atmosphere and, in terms of plot, never quite surprises.
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1922 is actually a simple story about how a farmer wanted to get rid of his wife, but it all went horribly wrong because she was still capable of causing evil even after death. However, 1922 is not so much based on King's novel, but rather on the performance of Thomas Jane, who shows that he should definitely not be underestimated.
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I have to admit the film was a huge disappointment. The beginning was great, Thomas Jane sounded like he was born wearing overalls on a farm somewhere in the middle of nowhere, the 1920s atmosphere was great, and I was enjoying it. But after a while, the creators seemed to have run out of material and they didn’t figure out a way to save the situation. They let the main character be literally gnawed by remorse, but the last third of the film was incredibly boring, and, after a very good start, it took a massive downturn. 3*-
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A horror mixed with a thriller, featuring a significant amount of grotesque, bloody scenes (and not just that—those rat scenes might even make the toughest person feel a bit queasy, as they are simply disgusting). The oppressive soundtrack is filled with dense tones that seem to fall on you from all sides, making it feel like someone has thrown a heavy blanket on you as a substantial burden. Additionally, I have to admit that Thomas Jane's performance was simply astounding and captivating (perhaps 90% due to that excellent rough Southern accent). Otherwise, the film doesn’t offer anything particularly gripping. There’s almost too much suspense, but the actual plot seemed to miss the mark. Some moments tried to target the emotional aspect, but it didn’t always succeed (though the scene with the death of the son and his wife was pretty intense, and my emotions flared up there). By the end of the film, it started to drag; it was evident that the creators were stretching the film like a rubber band, but they were more or less running out of ideas. I’ve seen many worse films on similar themes, but I must admit there are also many better ones. If nothing else, watch 1922 for Jane’s performance. He won’t leave you indifferent. I give it 64%.
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1922 suffers from the syndrome that a number of King's adaptations have. The author uses paranormal and horror elements to deepen the dilemmas and mental states of the characters, to amplify the drama, which otherwise has a "non-horror origin". At its core, 1922 is a hard ballad about guilt and remorse, a drama about a man's love for his son and his country that prevails over love for the mother. Despite the great visuals and good cast, the drama is very lame, it drags on and helps itself powerfully with Thomas Jane's voice-over. In particular, Wilf's conflict with his son is not intense enough that one experiences the subsequent "cellar revelation" as strongly as the director planned. Rats and ghosts simply look more like B-movie props and the conspicuous utterance of something that is otherwise closely tied to the inner core of the main character. As a redneck, Thomas Jane is sufficiently photogenic, but his performance certainly does not have (and cannot have) the parameters of a deeper drama. 1922 stays in its comfort zone, and the same goes for Mike Patton's soundtrack. Solid work, but a marginal result.
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