Something Wicked This Way Comes (United States, 1983)

By the pricking of my thumbs, something wicked this way comes: Macbeth Act IV, Scene 1

The cliché goes like this: They don’t make ‘em like they used to. And, at least in the case of Something Wicked This Way Comes, ne’er a truer word has been spoken. The film, based on the 1962 Ray Bradbury novel of the same time, hearkens back to an era when every live-action film to emerge from Walt Disney Studios wasn’t either bland family fare or an animated remake. Occasionally, Disney would take risks. Certainly, not all of those risks paid off at the box office, but movies like this showed that a mere 17 years after his death, something of Walt Disney’s spirit of entertainment remained in the company that bore his name.

For a movie with such a troubled production history, it’s surprising that the final film is so engaging. Excepting the somewhat confused climax, which begs for special effects techniques not yet available in 1983, the movie is a relatively low-key affair, relying more on mood than grotesque horror tropes. Something Wicked This Way Comes focuses on regrets, resisting temptation, and the dark things that can happen under night’s cover. There always seems to be a storm coming but, in this case, it’s less about the ominous portents of dark clouds than the ability of lightning to illuminate things hidden in the shadows.

Bradbury’s novel has its roots in childhood memories, which is one reason why the opening scene with its evocative narration (perfectly delivered in a voiceover by Arthur Hill) is so forceful in setting the scene of a Norman Rockwell-esque town in rural America. When it comes to nostalgic remembrances of a now-lost era, the only things I can think of that come close are the humorous recollections of Jean Shepherd. Coincidentally, A Christmas Story arrived in theaters the same year as Something Wicked This Way Comes and is set during the same general time frame: the interwar years.

Something Wicked This Way Comes started life as the short story, “The Black Ferris,” that Bradbury wrote in 1948. He expanded it into a screenplay designed as a directorial effort for his friend, Gene Kelly. But, when Kelly was unable to get financing, Bradbury decided to rework the project into a novel. By the early ‘70s, studios were showing interest and various opportunities came and went (at one time, Steven Spielberg was reportedly engaged) until Disney became aggressive, courting Bradbury, who suggested Jack Clayton as the director.

Clayton and Bradbury had a fruitful working relationship until creative differences caused a schism. Bradbury was irate about changes made to his script, later remarking in his 2005 autobiography: “[Clayton], against my wishes, had thrown out my screenplay and substituted one written by a British writer [John Mortimer] who understood Evelyn Waugh but misapprehended fantasy.” The producers removed Clayton and Bradbury and producer Peter Douglas supervised a reconstruction of the film that involved new scenes written by Bradbury (including the opening narration), extensive reshoots, and a change in the composer (from Georges Delerue to James Horner). Bradbury would describe the final version as “not a great film, no, but a decidedly decent one.”

The story transpires in an early 20th century prototypical Small Town, Green Town, Illinois. It’s a week before Halloween and the greens of summer have given way to the autumnal kaleidoscope of reds, oranges, and yellows. In the fields, ripe pumpkins are ready for picking. There’s a chill in the air on that night when the mysterious carnival of Mr. Dark (Jonathan Pryce) rolls into town. The rides and attractions are a magnet for two young boys, best friends Will Halloway (Vidal Peterson) and Jim Nightshade (Shawn Carson). The adults in their lives, Jim’s mother (Diane Ladd) and Will’s parents (Jason Robards, Ellen Geer), give their kids a long leash that allows them to sneak out of their rooms late at night to see the goings-on at the carnival grounds.

Mr. Dark and his underling, the Dust Witch (Pam Grier), have come to Green Town in search of food. They feast not on meat and vegetables but on nightmares and dark emotions. One-by-one, the townspeople succumb to their temptations. The amputee bartender, Ed (James Stacy), sees a chance to regain his lost body parts. Miss Foley (Mary Grace Canfield), the boys’ teacher, yearns for her lost beauty.  The local barber, Mr. Crosetti (Richard Davalos), has no girlfriend or wife and dreams of beautiful women. And store owner Mr. Tetley (Jack Dengel) thinks of nothing but money. However, while Mr. Dark grants wishes, there’s always a price to pay. (Shades of “The Monkey’s Paw.”) For example, in exchange for once again being the prettiest girl in Green Town, Miss Foley must sacrifice her sight. Meanwhile, Mr. Dark’s attempts to similarly seduce Will’s father, Charles, fail. Although Charles, who became a parent at an older age, would like nothing more than his vitality and health so he can be a more active part of Will’s upbringing, he is immediately aware that Mr. Dark is an agent of evil.

While there are physical aspects to the climactic struggle between Charles and Mr. Dark, the core of their battle is metaphysical as they contend for the soul of the town. At its heart, this is a much different idea than what one normally associates with horror – more intellectual and less primal. The execution, however, is a little on the rough side. The special effects don’t stand up well to the passage of time. They are evidence both of technological limitations and budgetary restrictions. (Curiously, one of the original film’s standout sequences – a combination of animation and early CGI – was cut from the final version.) The movie’s emotional payoff isn’t effectively realized by the on-screen depiction of how everything is resolved.

Whatever its issues, Something Wicked This Way Comes does an excellent job of crafting its setting and pulling the viewer into the world of the two characters. It unpacks the situation gradually, starting things off as an adventure for the boys before shifting the focus to darker subjects and allowing Jason Robards’ character to emerge as the unlikely hero. Will, Jim, and Charles have well-defined story arcs and, although the tale is presented from the boys’ perspective, this is (as is admitted in the voiceover) really Charles’ story.

The film’s poor box office showing was likely the result of audiences not knowing what to expect from a movie that didn’t neatly fit into either the Disney Family Film bucket or the more traditional horror one. Yet it’s at least as good, if not better, than popular ‘80s films like Gremlins and The Goonies. After its theatrical run, Disney has never done much to give the film another life. Although it was accorded a DVD release, it remains curiously absent from the streaming universe. Rumors of a remake have been mooted but nothing has come of them. The film is worth searching out, especially if one appreciates movies that craft a spell with a powerfully rendered setting and unconventional storytelling.

Something Wicked This Way Comes (United States, 1983)