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8 King First Edition Covers vs Film Interpretations

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Interpretations, interpretations. There are about as many of those as there are opinions. But when you are hired to create the cover art for a novel how much liberty can you take?

Years ago, to judge a book by its cover you simply had to pick it up. Nowadays it’s less of a cover and more of a PNG image next to a button that says download now.

Probably the most influential horror author of the last 40 years, Stephen King has made a career of memorable characters, but sometimes the covers of his books didn’t always match up to the characters in the movies.

Just as directors take certain liberties with who the characters are and what they look like, so too do the artists who create the cover art for the book jacket.

Here are some of his first edition book covers that may or may not have missed the mark when the movies came out. We are only examining the first US printings; there were subsequent releases later for paperbacks which may have gone into more detail as King’s career grew.

And we are also not looking at the text or descriptions of these characters from inside the books: only the first edition covers and the actors and situations that played out on screen.

Cover-to-screen changes are very noticeable on King’s first bestseller, Carrie. On the book, Carrie has auburn curls and brown eyes, a far cry from the now iconic role made famous by Sissy Spacek, with her piercing blues and strawberry blonde hair in the movie.

Carrie: Book published: 1974

Film adaptation releases: 1976 – 2002 (TV movie) – 2013

2002 (TV movie)

2013

The Shining: Book published:  1977

Film adaptation releases: 1980 – 1997 (TV miniseries)

For The Shining, the jacket makes Jack Torrance less of a presence than Kubrick’s vision. Even Wendy looks like a supermodel on the front, not the gangly cowardess depicted by Shelley Duvall in the famous movie.  The 1997 miniseries seemed to have given some reference to the first edition graphic as Steven Weber and Rebecca De Mornay are much closer to the family on the jacket. Even Danny got a bowl cut for the miniseries, looking similar to the one on the book although seemingly much happier. 

1997 (TV miniseries)

The Dead Zone: Book published:  1979

Film adaptation releases: 1983

We can’t see much of Johnny Smith’s visage on this classic novel, Christopher Walken who plays the part in the film has a striking resemblance to the book’s depiction, if only slightly thinner. 

Firestarter: Book published:  1980

Film adaptation releases: 1984

Drew Barrymore seemed the perfect casting choice if producers were taking from the original novel cover. The jacket shows very little of Charlie, but Drew is almost identical to the book illustration in facial features and temperament. 

Cujo: Book published:  1981

Film adaptation releases: 1983

Well, poor Cujo. There’s really nothing an artist would have to interpret here. Large Saint Bernard, snout gnarling in the penumbra. Probably an easy payday for this artist. But later on, another iconic King pet would make a really drastic change from book cover to screen…

Pet Sematary: Book published: 1983

Film adaptation releases: 1989

..and that animal is Church from Pet Sematary. On the book, we see an angry domestic longhair, in the Mary Lambert film it changes to a British short hair, some viewers initially thought Church was a Russian Blue breed.

IT: Book published:  1986

Film adaptation releases: 1990 (TV miniseries)– 2017

This cover is interesting. It shows Georgie’s paper boat anchored near a storm drain with IT’s hand in the latter stages of transformation.

Of course in both film adaptations of the novel, IT is introduced as Pennywise the clown, beckoning below the sewer with Georgie’s boat in hand, but with clown gloves. Not this semi-spoiler art from the first edition cover.

Misery: Book published:  1987

Film adaptation releases: 1990

The difference here is not for characterization, it’s decor. In this great novel from King, Annie Wilkes holds famous romance writer Paul Sheldon hostage in a small room. The cover shows the bed on the left wall and a single window in the center. In the film, the windows multiply and the bed is on the right wall.

Well what do you think? Did the artist doing the first covers get it right the first time or did the directors making the film adaptations do it better? Tell us what you think in the comments below.

 

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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