Following last month’s utter disappointment of The Dark Tower, Stephen King’s name has emerged to dominate cinematic discussions once again, with the return of his horrific novels to theatric adaptations. Consequently, King’s latest project was met by skied anticipations from the audience, whose reactions to the film’s trailer had broken all the records, by 197 million views within 24 hours of its release, setting new numbers for trailers’ daily viewership and topping the figures of all issued others. Thus, all givens positively indicated a fine two-hour dazzle at the screening of IT.
Pennywise from IT
Set in 1989, IT centers its story on a group of bullied teenagers who bond altogether to shield themselves from some mysterious clown, whose bloody desires solely target oppressed children. The clown, who’s referred to as it, kicks off the film’s storyline with his abduction to the leading kid’s brother that he follows by haunting our protagonist kids, as they seek redemption for themselves and the gone boy from the gruesome viciousness of it.
Throughout history, children-related material has been a fruitful pillar in the establishment of horrific worlds, from the days of 1973’s The Exorcist that launched a lengthy chain of films about cursed youngsters, till today’s creepy utilization of childish gadgets as dolls and clowns in horror productions like Saw, Annabelle and IT. It’s true that such mutual orientation was the major contributor in the success of most horror classics, but only a few of these movies were able to impact what surpasses traditional shocking gasps and shallow unforeseen thrills, which is to communicate with the audience.
Unlike the mainstream productions, IT’s major uniqueness lies in its transcendence to plain frightening objectives, through properly integrating its horrific parties within an effective dramatic storyline by relying on its excellent characters. Throughout the film’s initial half, the script had diminished its frightful tones to provide extra screen time for displaying the nature, attitudes and struggles of the main characters for us to get ahold of. Such personas were either explicitly presented in the narrated scenes or through the characters’ actions, conversations and costumes which acquired each character a discrete personality to truly feel for and sympathize with. While the thorough character representation might independently categorize the film’s first part as a teenage drama, it offered room for quality acting performances, and portrayed the writers’ concern for outputting a communicative project with comprehended dimensions and distinguished moods.
In addition to their adequate representations, the delightful structuring of the main characters was as good as it gets, pretty much resembling Netflix’s Stranger Things in the lovable spontaneity. Although they were portrayed as ‘losers,’ their construction disposed the numb typicality of such characters by acquiring them humorous souls, energetic actions and foul-mouthed behaviors comparable to normal teenage personifications. On the other hand, the talent displayed on behalf of the starring kids emphasized the insignificance of numeric ages, as their performance had successfully met their roles’ challenging demands, being primarily based on struggling environments, despite their young age and mere experience on such major occasions.
After his previous comical representation in 1990’s TV version of IT, the clown Pennywise returns to the screens, 27 years after his first presentation, only with bloodier desires and darker intentions. In their revival to the antiqued character, the filmmakers have spiced up its outdated format with its opposing contrary in regards to the facials, appearances and doings. By introducing Pennywise to the cinema, IT had absolutely mutated the significance of red balloons and clowned looks, introducing new potential fields to the genre and raising the standards for the future antagonists in horror productions.
Blood Spattering Scene
For the intimidating objectives, director Andy Muschietti had equally combined creepy moments and jump scares to conventionally transmit his thrilling vibes straight through his frames, except for the blood spattering scene that followed, to a great extent, its classic precedent from 1980’s The Shining. However, the appalling presence of the modernized Pennywise had equipped that combination with its missed effectiveness, making up for the traditional executions towards the film’s end with the scrambling of tensing sequences. Furthermore, the director’s employment to that uncommon amount of comedic minutes supervised IT’s cinematic distinction, only brought it quite close to Stranger Things, that happened to possess similar orientation and story as well. But again, both projects were superbly enjoyable regardless of their resemblances, so why bother?
After a second chapter was announced, IT promises to establish a cinematic universe with potential enrichment to the innovation in horror productions. It also ignited the genre’s competitive atmospheres with this October’s resumption of Saw and Annabelle’s further sequels, so if you’re a diehard fan of this category, then the best is yet to come for you!