Stephen King is one of the world’s most prolific writers. The author – who turns seventy-five this week – is one of the most adapted in history. His works have been turned into films and television series, and have entertained the masses for decades. The adaptations of his writings form the basis of the new documentary, King on Screen.
Directed by Daphné Baiwir, King on Screen begins with an extended opening title sequence of sorts. Starring Baiwir herself travels on a journey through the worlds and characters of Stephen King, complete with a cameo or two. These opening moments of King on Screen are populated with an abundance of references to King’s work. It’s a clever introductory device, but one that doesn’t fully blend with what follows. Once the titles have finished, King on Screen immediately gets down to business. The juxtaposition of the transition from the scripted and constructed titles to the documentary, is jarring. Suddenly, without warning, King on Screen leaves the fictional setting, immediately diving into a collection of talking heads.
Baiwir has managed to get interview time with several key collaborators of King. A lot of time is spent with Frank Darabont, who has thus far adapted three of King’s creations. Greg Nicotero is also granted ample time on screen. Others interviewed include, but are not limited to, Kevin Kolsch and Dennis Widmyer, Josh Boone, Mike Flanagan, and Mick Garris. Each interviewee’s knowledge and respect for King is evident. The documentary covers a range of King’s world from movie to television adaptations. With so many in the world, Baiwir can’t cover them all and King on Screen is more of a sample than a comprehensive list.
The lack of depth will be disappointing to King die-hards, though were Baiwir to push deeper, King on Screen would need to be far longer than its one hundred minutes. Titles that do make the cut are an odd combination, with several key text’s glossed over or omitted entirely. Baiwir’s intention is clearly to give air-time to some often overlooked projects. Whilst the approach to their selection may seem strange to some, it’s the execution and order that is stranger. The documentary doesn’t feel as though it follows a clear linear structure as King on Screen jumps around the timeline of King’s career.
The biggest complaint of King on Screen though is in the choice of its interview cast. Several points during interviews mention the beauty of how King’s work champions diversity. Whether that be with strong female characters, or giving voice to marginalised races, King has always been ahead of the curve. It’s sad then that all the people interviewed are white men. Baiwir’s roster of talking heads consists of those that have worked on King adaptations, primarily as directors. This alone explains the copious amount of men on screen, but there have been women that have directed King’s writing. Mary Lambert, director of the original Pet Sematary, for example, would have added variety to the discourse. Baiwir has got Kolsch and Widmyer, the duo behind the remake of Pet Semtary and so Lambert’s absence is felt even more.
An overreliance on male voices coupled with a fairly standardised format of talking heads and stock footage make King on Screen a very dry affair. There are plenty of interesting anecdotes and stories shared, but the tried and tested formula causes fatigue to kick in. With a subject as expansive as King and his work there’s a lot of routes to explore and King on Screen falls short of being anything other than a well-made but decidedly average documentary.
King on Screen
Summary
Much like the quality of King’s adaptations themselves, King on Screen is a mixture of hits and misses.
King on Screen was reviewed at Fantastic Fest.
