Old, distinguished men in elegant attire sip their brandy and tell ghost stories. A mysterious woman unbound by time haunts successive generations of boys and men. The deadly consequences of secrets buried long ago are only just beginning to surface. All this and more make up Ghost Story, a novel by Peter Straub and then later a film by John Irvin.
In past reviews when I have compared a book to a movie, I have used a pseudo-ratio to show how books benefit from a structural advantage. I call this the “200 page/2 hour reel” ratio. Simply stated, there is more opportunity for story and character development in a book than a film. A film based on a book is often forced to take shortcuts, usually to the detriment of the story. At the same time, it is nearly impossible for a film to lay out all of the plot points of a story-heavy book such as Ghost Story unless we allow for a nine-hour film. (I guess that’s where a television mini-series comes to “the rescue.” Ah but this often backfires. But this is a subject for another article.) What does one do about such a dilemma? Let’s ask Lawrence D Cohen, the screenwriter for Ghost Story.
Cohen is a masterful screenwriter who first “came to prominence” for penning the screenplay for the 1976 film Carrie, a fine film based on a book by Stephen King. In Ghost Story, just like with Carrie, he skillfully paves the road that leads from the book to the movie. Cohen and Director John Irvin know the limitations of the film medium and wisely do not attempt to exceed them. They carefully carve out a simpler yet equally fulfilling story from Peter Straub’s behemoth book. It has been suggested that film critic Roger Ebert prefers the film to the book. If this is so, I might just agree with him. Mind you, I said “might!”
As I alluded to earlier, Ghost Story is a long book. Both in scope as well as style, it owes a lot to Stephen King, from its epic quality of plot intricacies to its focus on small town characters and their foibles. In particular, Ghost Story bears a strong resemblance to Salem’s Lot. Hank Wagner from darkecho.com describes this similarity quite well, presenting quotes from Peter Straub himself to back up his claims:
Numerous readings reveal how much the book owes to Salem’s Lot. Straub has publicly acknowledged this debt, stating that “I wanted to work on a large canvas. Salem’s Lot showed me how to do this without getting lost among a lot of minor characters. Besides the large canvas I also wanted a certain largeness of effect. I had been imbued with the notion that horror stories are best when they are ambiguous and low key and restrained. Reading Salem’s Lot, I realized that the idea was self defeating.” On reflection, the debt to Salem’s Lot is obvious. Both feature small towns under siege from the supernatural. In both, the terror escalates until the towns are threatened with destruction — Jerusalem’s Lot is consumed by purifying fire, while Milburn is decimated. In each, a writer’s arrival in town seems to trigger disaster. Both writers strike up alliances with young teenagers whose lives are ruined by the terror, Ben Mears with Mark Petrie and Don Wanderly with Peter Barnes. Both forge an almost parental bond with their young allies, replacing those lost parents. In both, the evil lives on — Ben and Mark end up on the run, while Don, after ending the threat of Eva, presumably goes off to face her evil aunt.
I would only add one more similarity – both novels feature a house that is a home or former home to the evil presences of these books. In fact, I need to make this addition, for these reviews are part of the Haunted House themed project and therefore, the stories I review must include a haunted house, even though most of the action in these stories take 
place outside these houses. (For the record, I have found Salem’s Lot and Ghost Story on sites that list haunted house films and literature – so there!) But here is the take away – the story is too broad to settle on in with just a few characters at one location at a specific point in time.
Like with Stephen King’s The Stand and It, there are multiple characters with story lines that encompass more than a few pages. While the primary characters consist of the five old men that tell ghost stories (Collectively known as “The Chowder Society”), the writer/nephew of one of these men (Don Wanderly), and the “ghost” in her many incarnations, there are so many others – the promiscuous wife of one of the old men, the drunk plow driver, the cantankerous sheriff, thrill seeking teenagers, and on and on it goes. The story takes place in a snowy town in New York, but the book takes readers across the country as a large chuck of one of the plots (there are a few) unfolds in California. Oh yes, the town of Milburn has the obligatory haunted house. In fact there are several! The evil goes where it wants – haunting several abodes and businesses, including a movie theater that continuously runs the film “The Night of the Living Dead.” Several of the townsfolk fall prey to the evil. They become possessed, they become the objects of their worst nightmares; they die. And it doesn’t help matters any that a series of snowstorms shuts down the town. The people of Milburn are besieged on all fronts by so many forces.
I say, if you like Stephen King’s epic and character-heavy novels, then it is highly likely that you will enjoy Ghost Story as well. I know I did.
Now, how does one turn all this into a movie? By focusing on one central plot and abandoning the side stories. By letting go of most of the characters and centering only on a handful. And this work well, with a large part of the success coming from the suburb cast:
Douglas Fairbanks Jr John Houseman Fred Astaire Melvyn Douglas
It was the final film for Astaire, Fairbanks, and Douglas. Melvyn Douglas has so far appeared in two other haunted house movies that I have reviewed. (See The Old, Dark House and The Changeling. Although I did not mention him in these articles.)
The film focus in on one plot – a young woman (as a ghost or whatever evil form you call it) returns from the dead to seek revenge on the four old men (Astaire, Douglas, Fairbanks and Houseman) who had killed her when they were young. This plot line occurs in the book as well but it is much more complicated. Normally when I do a book vs. movie review, I make a bullet-point list outlining the differences within each medium. I feel that is unnecessary here as I have already honed in on the most significant difference. Once that difference is understood and accepted (and accept it I do), an inventory of the nitty-gritty components of such a variance becomes pointless (In more ways than one: meaningless and “no bullet-points.” Get it?) The story that is portrayed is done with great care. It is better to minimize one’s focus to achieve a clear vision than to try and maximize the field of vision, only to achieve a blurry and unwatchable product.
As great as the book is, I find myself preferring the film (Or, I “might” prefer it to the book, as I said earlier). At times during my reading, I found myself lost in the tangled trails of plot. Yes, these trails do untangle and eventually lead you where you want to go, but still, it was a tedious experience at times. The film is straight forward and satisfying.
Not that I am against the complex – by no means. I enjoy books of great breadth and depth.
Perhaps such a comparison is unfair. It’s like comparing a plate of apples to a gourmet meal. It’s just that, as much as great as a gourmet meal is , sometimes I just want apples.
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Thank you for reading this article. I invite you to check out my latest book: The House Sitter
– A writer haunted a house with his own stories.
George C Scott portrays John Russell, a grieving widower that rents a historical mansion where things go “bump in the night.” Truthfully, it’s more of a “bang”, but it’s no less creepy. Searching to begin anew after tragically losing his family, Russell, a music composer, accepts a teaching job at university. With a new job comes a new life, new acquaintances – and a new home. New and scary. He has no idea what experiences are waiting for him; what mysteries he will help to unravel in 
Changeling” is intriguing indeed. This isn’t the best haunted house film out there but it has its redeeming moments. It is definitely worth seeing.
certain biases on my part. First, I prefer the ghosts and demons of films and literature to be somewhat elusive; their origins speculative, their nature not limited to the narrow parameters of “good” and “evil”. The spirits of The Conjuring films are evil demons as defined by the Bible. Adhering to tradition of well-known demon lore, we assume they will take possession of someone, mostly likely a young woman. We suppose that the possessed victim will at some point rant in a guttural, inhuman voice. We expect the demons to get a little testy when confronted with a crucifix – the symbol of “goodness.” All of these assumptions, suppositions, and expectations come true. Second, I favor unhurried and carefully crafted atmospheres of disturbances to the flashy and loud jump scares. Creepy over shocking, I say! The Conjuring 2 has a lot of jump scares for sure, more than its predecessor. For these reasons, it is doubtful that any films of The Conjuring series will make it to the top of my preferences list.
Let’s begin with the first several moments of the film. It begins with hypnotic spirals overlaid by the text “The first picture in Psycho Rama – The Fourth Dimension –Subliminal Communication.” 
the next in line to be the receiver of haunts. As a former resident of the home, she is best equipped to deal with the mystery that envelops the house and ties the whole story together. Is she up to the task?
is a simple story – a violent storm forces two sets of travelers to seek shelter at and old, dark house. The inhabitants of the house are quite strange, as would be expected. There are several subplots that arise, and some of these are awkward. But never mind, the purpose of the film is not to tell a thought-provoking story with a compelling plot. Instead, it is to revel in the art of the uncanny. It succeeds in its goal with dark and chilling atmospheres, crafty camerawork, and its effective use of shadows. Some of the characters are humorously unsettling, even by today’s standards. I would like to go more in depth and describing some of them, but that would require me to tread too far into the forest of spoilers and I don’t want to do that. Oh and there’s the screeching of the wind! Gotta love that!
Who is Mister Babadook?
called Mister Babadook. It is a creepy pop-up book that features the cloaked shadow monster “Mister Babadook.” On one set of pages, he pops up over the front door. He wants in.
In the end, the fiend is still there. Amelia treads carefully into the basement. She feeds the monster, dispensing small portions of whatever it is that is mixed in with a bucket of worms. The beast is hungry. It screams and threatens to attack. But Amelia succeeds in keeping it at bay. She revisits her nastiest of emotions every once in a while, but keeps them in check. According to 
AAAAAAA-BBAHHHHHHET!!!! 
well and its surrounding land.
The tables have turned. Costello, as a ghost, pulls tricks on Abbott and nearly drives him out of his mind. He disturbs his sleep by playing the harpsichord. He lights his cigarette, but Abbott doesn’t see Costello- he only sees a lighter hovering in the air. He gives him a good kick in the ass over a chair! You go Costello!
to investigate a house that is on the market. Little does Rehan know that the house is haunted. But he soon finds out soon enough. As he settles in to stay and sleep at this house, he witnesses many things. Doors are slamming, books are falling off the shelf, a piano begins to play on its own accord, and ghostly handprints appear on the windows. Then there is the crying and screaming that occurs in the middle of the night. This is what disturbs Rehan the most. Disturbs and…intrigues him. For it is a female voice that cries out in the dark of night. He makes it his job to de-haunt the house. In doing so, he will travel back to the past to make things right. He will help the beautiful Meera deal with the tragic events that took place in her life and in her time – seventy-five years in the past.
cannot say which scene or set of scenes made me feel one way or another. This ambivalence seems only to exist as a whole and cannot be broken down to the sum of the film’s parts. Despite this ambivalence, I did enjoy the film. It is worth watching but at the same time it is a little long at two hours and twenty minutes. Since I saw this film on the computer screen, I did see it in 3D. There were parts of the film that were crying out for 3D glasses. Alas, I had none. The dialogue is spoken in Hindi, but there are English subtitles. However, the characters speak in English from time to time.
The Book
mother in Burnt Offerings that looks after the house obsessively; a mother who gives in to the possessive demands of the house. Finally, the ghosts of The Overlook reenact a hedonistic masquerade party that took place on the property decades beforehand. At midnight on the night of their ghostly appearance, tragedy will be waiting in the same way that Death ready to pounce in The Masque of Red Death. 
The Movie
maze of hedges. Too bad this was left out; it was also symbolic of Jack’s sanity.
I knew a guy, big Marvel comics fan, and whenever you asked him about a recent marvel superhero movie, he would say something to the tune of “I liked it! It stuck to the original story of the comics” or “I didn’t like it, it strayed from the original story”. To him, the quality of a film adapted from previous material seems to be solely based upon how well it regurgitates the plot of its predecessor. How well a story re-translates itself from book to film doesn’t seem to be an important factor in his analysis. I mean, if a film based on a book totally sucks, but it sticks to the original story, then by his standards the film isn’t allowed to suck.
the series tries to imitate the film. When Jack smashes his way into the bathroom, in the book he says nothing. In the film he says “Heeeeeere’s Johnny!” Which will the series choose to emulate, the book, which it had been kept true to all along, or the movie? For some reason, it chose the movie, but instead of the calling out to The Tonight Show host of the 60’s and 70s, Jack says “booo!” followed by “here come’s papa bear!” Corny! The series should have had him remain silent.
The Books of Daniel 