Introduction
Misery, the Rob Reiner-directed psychological thriller celebrates its 35th anniversary this year. The film features an Oscar-winning performance from Kathy Bates in her first film role, and a mostly bed-ridden performance from Sonny Corleone himself, James Caan. Thirty-five years later, the film is widely (and rightfully) regarded as one of the most taught, intense, intelligent and suspenseful movies ever put to celluloid.
Based on Stephen King’s 1987 novel of the same name, the film adaptation dives into a story of obsession, idolization, survival, and psychological suffering. It also explores autobiographical themes of creativity under duress and the unyielding demands of fandom. Misery garnered instant critical acclaim due to Reiner’s masterful and confident direction. There was also William Goldman’s unforgettable script, along with powerful performances from Richard Farnsworth, Frances Sternhagen, and Hollywood legend, Lauren Bacall.
The Novel
Stephen King’s Misery was originally published in 1987. It quickly became one of his most beloved works. The novel tells the gripping story of Paul Sheldon, the successful author of a lucrative series of books following the Victorian-era travails of the main character, Misery Chastain. When the story opens, he has recently freed himself of the franchise by killing the character off and is putting the finishing touches to a new novel. We learn he is a man of routine and ritual as he travels to the same remote Colorado mountains hotel to finish a book. And then, to indulge in a solitary cigarette and glass of Dom Perignon upon completion.
As he embarks on his journey home, he’s caught in a freak blizzard and has an almost fatal car accident. He is (luckily?) resuscitated and rescued by Annie Wilkes, a seemingly kind nurse who also turns out to be his ‘No.1 fan’ who carries him home. She insists upon taking care of him until the blizzard passes and the snow clears. Slowly and more disturbingly, Annie’s calm and caring persona begins to slip. Soon, a darker and more sinister side emerges as Paul is put through increasing physical and mental strain until Annie gets her way. He is her captive, and he must find a way to satisfy Annie’s demands while ensuring his survival long enough so he can escape.
King’s mastery in building unrelenting suspense while simultaneously delivering shocks and scares made Misery an ideal candidate for a film adaptation. The reader must turn the page, while the audience will not be able to look away from the screen. No matter how much they want to!
Adaptation
Rob Reiner, known for directing beloved films like Stand by Me (1986) and The Princess Bride (1987), was brought on to direct Misery at the behest of producer Andrew Scheinman. Reiner had successfully adapted Stand by Me, which was the main reason the King gave him his blessing to adapt Misery. King was known for being very selective when it came to film adaptations of his work. In addition, Misery was a personal story and one of his first completed works after becoming sober. This was following years of substance abuse, which led to a family intervention.
King even went on to say in an interview with Rolling Stone magazine that:
“Misery is a novel about cocaine. Annie Wilkes is cocaine. She was my number-one fan”
Reiner was also keen on exploring a different genre; identifying with King, and indeed Sheldon’s frustration at being held creatively captive by audiences. Misery would be a much darker and more intense project than what Reiner had worked on before.
Reiner’s decision to focus on suspense over horror was key to the film’s success. The novel contains increasingly disturbing violent and horrific imagery which is compounded by the fact that the story contains no supernatural or demonic elements. Simply human decisions and actions. Reiner wisely chose to steer towards psychological terror, subtly asking the audience ‘What would you do in this situation?’ allowing them to experience the increasing confusion and dread from Paul’s point of view. From the opening credits car crash to Paul meeting a new number one fan just before the end credits roll, the audience barely has time to crawl from the edge of their seats.
Pre-Production
Misery went into pre-production with Warren Beatty seemingly to have signed the dotted line to play Paul Sheldon. He was allegedly involved in key decision-making about the story and locations. However, several of the crew knew there was no way his infamous movie-star ego would lie in bed the whole time while another actor got all the attention.
The role was then famously offered all around Hollywood. Kevin Kline. Harrison Ford. Michael Douglas. Dustin Hoffman. Al Pacino. Robert DeNiro. Richard Dreyfuss (who later stated he regretted not taking the part) and even the late Gene Hackman, all declined because the character was mostly bed-ridden while their co-star got all the memorable action. Screenwriter William Goldman thought Richard Gere would be perfect for the role. However, Gere’s career was in a lull and no one entertained the idea. Gere, however, was about to have a huge resurgence in the shape of Pretty Woman (1990).
James Caan
The role was eventually offered to James Caan. Caan was primarily known for the manic energy he brought to roles in such iconic films as The Godfather (1971), Rollerball (1975) and Thief (1981). The idea of confining that energy to a wheelchair and bed for the majority of the running time was intriguing. Caan, at the time, was on a Hollywood hiatus and enjoying sports coaching with his family. But he still agreed to take on the role.
From the outset, Caan brings an everyman quality to Paul (‘Still got it’), yet still maintains a Hollywood charm. He exudes helplessness and desperation, but shows sharp intelligence and resourcefulness. Unlike many modern horror characters, we are not yelling at the screen in exasperation at his stupidity. We are desperate for his safety and any opportunity to escape. You will not find an audience member who did not react when Paul replaces the ceramic penguin facing the wrong direction! We are on his side. And thanks to Caan we emphasize his character’s physical and mental anguish.
Kathy Bates
And of course, we have a relatively unknown stage actor, Kathy Bates as serial killing psychopath Annie Wilkes. Bates and Reiner had long conversations about a possible backstory for Annie. They wanted to anchor the performance in some sort of trauma experienced by the character. Eventually, they came up with the suggestion that Annie had been abused when she was a child. This was then woven into the story as we see in her scrapbook how her father ‘plunged to his death.’
This was Bates’ first time on a movie set and her first time having a trailer. She quickly grew bored, preferring to spend time on set and in the company of a crew member she had a crush on. Her experience as a stage actor, no doubt, was a huge benefit. This is because much of Misery is set in one room, a la a two-hander performance.
Bates was able to add multiple layers to Annie: outer innocence, kindness, loneliness giving way to fury, and malevolence. She inhibited the role; going full method as cock-a-doody Annie. Bates later noted that this made for a very tense set. The outwardly violent moments, such as the famous ‘hobbling scene’ (a much more severe foot amputation in the book), or the final battle, left a bitter lasting impression on both performers.
Release and Legacy
Misery became a box-office success, grossing over $60 million on a $20 million budget. The film is considered one of the finest Stephen King adaptations of all time. Further, its psychological depth, harrowing performances, and unrelenting atmosphere made the film a standout in the 1990s thriller genre. Kathy Bates’ Oscar win for Best Actress, in particular, marked a significant moment in cinema history. It brought recognition to a genre film that might have otherwise been overlooked by Academy voters.
Bates’ Oscar-winning performance impressed Stephen King so much that he wrote two more novels with the actress in mind for the inevitable screen adaptation. One was the titular character in his 1992 novel Dolores Claiborne (where she indeed played the character in the adaptation). The other was Rae Flowers in King’s 1994 made-for-TV screenplay of The Stand.
More than three decades later, Misery continues to be celebrated as a benchmark for psychological thrillers, and its legacy remains intact. It’s a testament to the brilliance of Stephen King’s storytelling, Rob Reiner’s direction, and the unforgettable performances of its cast. The film’s exploration of obsession, power, and survival still resonates with audiences, making it a must-watch for anyone interested in the heights of cinematic suspense.
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