A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
When Thad Beaumont was a child, he had an operation to remove a tumour from his brain. during the operation, it was discovered that far from being a tumor, the growth was a twin brother of Thad's that never developed. Years later, Thad is a successful author, writing his serious books under his own name, and his pulp money-makers under the pseudonum "George Stark". When blackmailed by someone who has discovered his secret, Thad publically "buries" George Stark. From that point on, Thad increasingly becomes the prime suspect in a series of gruesome murders. Written by
Murray Chapman <email@example.com>
The Dark Half was the last novel Stephen King wrote before going totally sober. His addiction and his desire to go sober are reflected in the book's themes of dual personalities. See more »
In the scene where Thad is writing in his office with the sparrows on the window, the sharpness of the pencil he uses changes back and forth from very sharp to very dull. This is the scene where Thad stabs himself in the hand. See more »
This is one strange, surreal literate piece of psychological horror pulp in the tradition of Dr Jekyll and Mr Hyde by film-maker George Romero who adapted it from novelist Stephen King. Thad Beaumont is a successful novelist who decides to literally bury his alter ego George Stark, who he used as a pseudonym for his overly violent pulp novels. This occurs because someone tries to blackmail him. But after putting an end to this alter ego, people are starting to be killed off and these are people who are somehow tied in to seeing George Stark finish up. However the evidence at every murder scene points to Thad and something is happening to him that he hasn't experience for almost twenty years. The sparrows are calling. Underrated work from Romero, which can be atmospheric in its vivid visuals, computer effects are ably done, the jolts are nastily macabre (the graphic climax of when sparrows attack) and the steadfast narrative gradually builds up its dread-filled suspense and stinging matter with precise control. Timothy Hutton plays the dual roles with outstanding ticker. Then there is solid support by Amy Madigan, Michael Rooker and a tiny part for Robert Joy.
"We shouldn't be writing trash."
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