The highly anticipated trailer for It: Chapter Two has finally been released, showcasing the new adult cast, which consists of James McAvoy, Jessica Chastain, Bill Hader, James Ransome, Andy Bean, Isaiah Mustafah, and Jay Ryan. Certainly a crowd pleaser, since this is the dream cast both fans and the child cast of the first chapter had hoped for.
And Pennywise certainly makes his presence felt in this trailer, make no mistake…
Part one of Andy Muschietti’s It is the second adaptation of Stephen King’s popular horror novel, 27-years after Tim Curry famously took on the role as Ronald McDonald’s twisted shapeshifting cousin. The timing for this is far more significant than mere coincidence: every 27-years, Derry, Maine, becomes the feeding ground of Pennywise the Dancing Clown. Whether he’s feeding it’s inhabitants to Tim Curry or Skarsgård, or unleashing zombified animals to disturb the peace of a remote, tranquil town, King certainly has an odd way of showing his love for his beloved Maine…
“Hi Georgie! What a nice boat. Do you want it back?”
Certainly not, thanks. You can keep it.
Pennywise to Georgie Denbrough
In the summer of 1988, Georgie Denbrough became the first of many victims of the freshly awoken Pennywise, sparking a series of events the following summer, in which his older brother Bill and his Goonies squad, the affectionately named Losers, come together to confront a certain balloon-bearing clown. When they’re not clowning around Derry themselves, of course, they’re hiding from Bowers and the rest of the bullies, rarely enjoying the summer break they’ve been holding out for.
The story manages to be equal parts heartbreaking and inspiring, as well as relatable – and not just because we’ve all had encounters with shapeshifting, cosmic entities. At it’s heart, this first chapter of It focuses on the coming-of-age story from the novel, reminiscent of similarly themed stories such as Stand By Me (also from the mind of Stephen King) or The Goonies. Each member of the ‘Losers Club’ are victims of extreme bullying, which brings them together, almost orchestrated by some supernatural force, to overcome their fears and weaknesses to vanquish the ancient predator that lurks within the sewers of the town itself.
While the atmosphere can turn oppressive and brutal at the flick of a button, we are persistently reminded that it’s summer and they’re just kids. As poor Stanley Uris says: “It’s summer! We’re supposed to be having fun! This isn’t fun, it’s scary and disgusting.” But it’s during those quiet moments, when the Losers are hanging out like normal kids, that we see their bonds grow, which, as it turns out, is vital to their survival, adding to that familiar coming-of-age tale. Themes revolve around how brief, yet vital childhood is, where adults don’t listen or don’t care, and the big bad school bully has issues at home – another familiar King theme.
Another key aspect of the novel was the exploration of the history of Derry itself, finding it’s roots in violence, which seems to go disturbingly unnoticed. This was one of its most interesting plot threads, fleshing out the lore of the creature itself (with it’s own ties to Stephen King’s shared universe) as well as the town, creating a sense of world building. This is present in the film as well, though perhaps because of the nature of being a cinematic adaptation, large parts of Derry’s history are referenced in the background rather than given the level of detail the book provides. Even still, it successfully provides that lingering feeling that Derry’s history is somehow wrong and that there is something wrong with the way the adults, who are supposed to be figures of authority, are ignorant to the strange happenings around them.
“Beep Beep, Richie!”
Pennywise to Richie Tozier – another reference to the original novel
Although this version comes after the 1990 mini-series, it’s no mere remake. Rather, with easter eggs and acknowledgments to it’s predecessor, It: Chapter One (as Chapter Two likely will) brings light to different aspects of the original novel. There is a heightened sense of dread and fear, more oppressive orchestration, and a greater impression of Pennywise’s influence over the towns adult inhabitants – though this latter point isn’t quite as poignant as in the novel, which may be due to cinematic time restraints.
Skarsgård this time round adds a greater threat level to Pennywise, not only because of increased brutality and horror, but his unnerving mannerisms sell the unnatural presence of the clown. During one uncomfortable scene, the infamous storm drain, Skarsgård’s eyes are simultaneously fixated on Georgie and the audience at the same time, with added highlights illuminating his eyes.
A vital role is played by Andy Muschietti’s exceptional directorial work, capturing tranquil charming scenes where the Losers Club are able to enjoy some ‘quiet time’, before juxtaposing, shaky, violent camera work invades – reminiscent of another of his horror flicks, Mama (2013). Coincidentally, anyone who has seen Mama will notice a few similarities between the way Pennywise lurches and twitches, and most certainly between ‘Mama’ herself and the twisted apparition that haunts Stanley Uris.
As an adaptation there are plenty of familiar moments lifted from the novel, as well as the 1990 series, though it manages to maintain it’s own identity. Both the novel and Wallace’s adaptation take place between two time settings: during the 1950s when the Losers encounter Pennywise as children, and again during the 1980s as adults, when they return to Derry, drawn by the cosmic forces that bind them to each other, Pennywise, and the town. The 2017 reboot, however, changes their childhood setting to the 1980s – the summer of 1989, to be exact.
The transformations of Pennywise have been noticeably updated to represent the time better. In the novel, Pennywise transforms into forms his victims fear the most, as fear ‘salts the meat’, including a werewolf, a mummy, and Dracula – monsters popular in ‘50s cinema. This time round, the creatures are more elaborate – a disturbingly warped portrait of a woman, a zombie-esque Leper (for hypochondriac Eddie), a headless child… more inline with ‘80s horror cinema, perhaps. While this shows a degree of awareness of the evolution of popular culture in a cine-literate world, there are other artefacts of the decade present that sell the setting – from the first Street Fighter arcade cabinet (released 1985), to a cinema hosting Nightmare on Elm Street 5 – released in August 1989.
There are other nods to iconic horror characters as well: various movie posters, 29 Neibolt Street could be from Psycho or Amityville Horror, and even a Ring sequence – though with a slide-projector rather than a VHS tape. Maybe Sadako Yamamura will find herself haunting a Blu-Ray in the future?
“What happens when another Georgie goes missing? Or another Betty? Or one of us? Are you just going to pretend it didn’t happen, like everyone else in this town?”
Bill Denrough gives a powerful motivational speech, that also shows off Jaeden Lieberher’s acting talent
It’s not often that the child cast is this good, but they really play a part in making It as compelling as it is. Especially since they’re pursued and brutalised by the likes of sociopath Henry Bowers (Nicholas Hamilton), who brings that Stand By Me realism to the horror – a relatable, real life villain we’ve all seen before – and, of course, that famous clown. Not the DC one, though I’m sure they’d make a Terrible Dynamic Duo. Bill Skarsgård is likely to haunt you after the credits role, and knowing that he’ll be back later in the year only makes the anxiety and anticipation worse…
Jaeden Lieberher takes on the role as Bill Denbrough, leader of Losers (whatever that’s worth) and vanquisher of fear-hungry demons; yet to his parents he is eerily invisible, showing the scars left by the absence of Georgie, as well as the haunting influence of Pennywise. And as for his ghostly sibling, Jackson Robert Scott can be seen haunting his older brother after playing a key part in one of the most heartbreaking cinematic openings, turning the dread of the book up to eleven.
The casts ability to convincingly react to Pennywise and his various transformations are enough to warrant the praise they have received since It came out. It would serve to lessen the impact to list their visions, but the images they see can be traced to their respective characters thematically. Joining Jaeden Lieberher, the Losers consist of Jeremy Ray Taylor as Ben, Sophia Lillis as Berevly, Wyatt Oleff as Stan, Chosen Jacobs as Mike, and Jack Grazer as Eddie, as well as Stranger Things favourite Finn Wolfhard as Mike… no, that’s his other role. Richie! Derry’s resident trash-mouth. And while Finn has been the recipient of much praise and adoration from fans of that other popular franchise, his fellow Losers are thankfully equally as brilliant.
“If you come with me, you’ll float too”
A tempting offer, but… no thanks. Puppet-Georgie to Bill
Assisting shaking cameras, dingy lighting, and ‘subtle’ luminous orbs hidden in dark backgrounds (clearly not Pennywise), is Benjamin Wallfisch’s suspenseful OST. The opening sequence sets the tone perfectly, complete with a dark ‘empty’ basement, which starts with a heartwarming interaction between two close brothers, as Bill helps make a paper boat for Georgie to play with outside. Despite the masterful cinematography employed to keep the suspense high, the accompanying music evokes something of an innocent nature, like a sad nursery rhyme. It’s gentle, if melancholy, piano keys and strings float (in a manner of speaking) alongside Georgie as he chases his boat… all before the inevitable happens: his boat disappears, along with the calming music, and we’re met with a pair of glowing eyes and a clashing of strings.
Whether it’s intense string arrangements, dramatic crescendos, disjointed nursery rhymes, or uplifting moments before the suspense ruins everything, Benjamin Wallfisch’s score suits the themes as perfectly as Skarsgård portrays Pennywise. Moreover, with popular ‘80s tracks here and there, featuring one of my favourite Cure songs, ‘Six Different Ways’, you know the soundtrack’s good. The aforementioned intro piece, aptly named ‘Every 27 Years’, is a prime example of his ability to reflect the story through the soundtrack, and even if it is a little cliché, it happens to come from the 18th century nursery rhyme, ‘Oranges and Lemons’.
“It’s summer! We’re supposed to be having fun! This isn’t fun, it’s scary and disgusting”
Poor Stanley Uris, the most psychologically effect member of the group… though he has a point!
If there’s one thing that might draw some criticism, it’s that at times, It falls into the trap of relying on typical horror jump scares and build up. While the music score has some exceptional moments and overall aids scenes, the same high-pitch strings alert you to the anticipated ‘boo’. Even still, it works well enough… according to my blood pressure at least, no thanks to Skarsgård.
While veteran horror fans might expect cliché moments, the themes and characters lifted from King’s popular novel are engaging and deep, hyping up our anticipation for Chapter Two later in the year.
With Pet Sematary and It: Chapter Two, 2019 is shaping up to be a hauntingly good year to be a Stephen King fan: shame there hasn’t been much of an attempt to build a ‘Stephen King Cinematic Universe’, though…
