I read Stephen King’s It about thirty years ago, and I forgot a lot of it (I read the summary on Wikipedia and was aghast at how much was gone from my brain). I don’t even remember if I saw the mini-series from 1990, although Tim Curry’s Pennywise the Clown is now a ubiquitous example of coulrophobia. Therefore, I’m not sure if I realized just what It is until I saw the new film, directed by Andy Muschietti. It is a metaphor for puberty.
The decision to break this into two films, the first featuring only the children (the book divides into alternating viewpoints of the kids and their adult selves) streamlines things and makes the metaphor pop more. The children, all at about that age, deal with an evil entity that more often than not takes the form of a devilish clown. This clown feeds on the fear of children (much like Freddy Krueger) and what do children fear? Turning into adults.
The book was more detailed about the children’s fears–it included mummies and werewolves, and there are none here, but I’m particularly struck about how the film treats the one girl, Beverly Marsh, played excellently by Sophia Lillis. In one scene she is in a drugstore, buying Tampax, so nervously it seems like the first time (she also swipes a pack of cigarettes). Her father, who is clearly molesting her, discovers her feminine hygiene product and asks her if she is still his little girl. Later, It will manifest itself as blood spewing out of her bathroom sink.
Becoming an adult also means turning on one’s parents, and here three kids do so (we don’t meet all the parents), two of them killing their own fathers, which seems very Joseph Campbell. The other, the hypochondriac Eddie, finds out his drugs are placebos and rebels against his Munchhausen Syndrome mother.
That being said, It is only an okay movie. There’s a lot to chew on, psychologically speaking, but the direction is simple and repetitive. We get a scene, then a scare, a scene and a scare, a scene and a scare. Believe it or not, there is a limit to how many times a clown popping out of nowhere can scare you. But some scenes are absolutely top-notch, including the first one, when Georgie’s boat goes down the sewer and we first meet Pennywise, as played by Bill Skarsgaard. He is terrifying, with his malevolent giggles, and the only problem I had was even a kid as young as Georgie would run like fucking mad, boat or no boat.
It is in the tradition of kids’ adventures movies that are constructed like World War II platoons–the stutterer (and leader), the funny kid, the hypochondriac, the fat kid, the black kid, the Jewish kid, and the girl, who is falsely rumored to be a slut. There is comfort in this, as it reminds us of better outings, such as Stranger Things (the excellently named Finn Wolfhard is in both casts). To me it hearkens back to teen lit like the Hardy Boys or The Three Investigators, where kids are smarter than adults and solve the problem with teamwork.
The children are all very good, particularly Lillis, who looks so much like Amy Adams that they will have to get Adams to play Beverly in the next film (Lillis has already played a young Adams in an HBO series). I also liked Jeremy Ray Taylor as Ben, the chubby kid, who writes a romantic poem to Beverly, is precocious enough to have researched and figured out that It comes out of hiding every 27 years, but is also enough of a kid to haplessly try to take his project home from school on his bike. The kid actors here convince you they’re are kids, not miniature adults.
The art direction on the house where It is hiding is also well done. It seems in every neighborhood there is that abandoned house that every kid is fascinated by. This one looks like every house I ever had a nightmare about. Skarsgaard’s make-up is great, and the special effects are great but don’t over do it.
There are some logistical problems, such as if It is so omnipotent (he can make a slide carousel go berserk) than how can he be defeated by physical means (it seems to me that you can’t beat up a demon with a baseball bat). But at least they don’t include all of King’s fooforall about the macroverse and the giant turtle that created the universe. They also, thank god, don’t include the head-scratchingly wrong scene he wrote in which Beverly has sex with all the boys. Instead, this is reduced to a simple Sleeping Beauty-style kiss.
It is a pretty good horror flick, nothing more, but in this day and age when horror movies are as disposable as Kleenex that’s no small feat. I will be very interested to see Chapter Two, and given the box office, there may be more chapters after that.