Descripción
Stephen King (source) New York: Fifi Oscard Associates, [1987]: - Screenplay treatment by Larry Cohen, undated (ca. 1986) Self-wrappers, brad bound, 38 pp., with various MS annotations in Cohen's hand throughout and on the back blank wrapper, 11 x 8.5" (28 x 22 cm.) Signed by Cohen on title page. Near fine. - Revised screenplay by Larry Cohen, [1987] Printed agency wrappers,121 pp. brad bound, 11 x 8.5" (28 x 22 cm.) With scattered MS notes throughout and heavy annotation on inner wrapper and back of final page, all in Cohen's hand. Bound with a metal clasp, with corresponding rust stains on the two inner wrappers, light staining to front wrapper, overall very good+ or better. An archive representing one of Larry Cohen's most notable horror films, from his estate and with handwritten notes in his hand. Larry Cohen's two greatest assets as a writer/filmmaker are his conceptual brilliance and the way he works with actors. In A RETURN TO SALEM'S LOT, he took the original ideas of Stephen King's 1975 best-selling novel SALEM'S LOT (filmed as a 1979 TV miniseries by Tobe Hooper) and added his own distinctively Cohenian twists. A RETURN TO SALEM'S LOT was part of a two-picture deal Cohen made with Warner Brothers that began when Cohen went to the studio with Andre De Toth and pitched them the idea of remaking HOUSE OF WAX (1953). Uninterested in the HOUSE OF WAX remake, the studio suggested as an alternative that Cohen should make something for their direct-to-video division, a sequel to his 1974 hit, IT'S ALIVE. Cohen said okay on the condition that Warner would finance two films to be shot back-to-back, the idea being that shooting two films in this way using the same crew and some of the same actors, could provide greater production value for both projects. The two films that resulted were ISLAND OF THE ALIVE, the third film in the IT'S ALIVE franchise, shot mostly in Hawaii, and A RETURN TO SALEM'S LOT, another project with name-brand recognition, shot mostly in New England. In the first paragraph of a treatment accompanying the screenplay, Cohen described the basic premise of his 'SALEM'S LOT sequel as follows: Imagine a small village nestled in the New England countryside populated by vampires. A vampire community that lives only at night, a village that has survived this way for centuries. Here in this place where the pilgrims came seeking asylum from persecution in Europe, came the world's most persecuted sectâ "the vampires themselves. Seeking in the New World a place to hide and to multiply. Cohen's sequel departs from King's original in several significant respects. In the King novel and miniseries, a vampire, Mr. Barlow, and his familiar, arrive in the town of Jerusalem's Lot and proceed to vampirise the entire community. In Cohen's version, the vampires have dominated the town since the early 1600s. In the King version, the vampires are fought by a trio of males: a young man, an old man and a boy. In Cohen's sequel, the vampires are also fought by a trio of young man, old man and boy, but they are not the same three as in the King version. In fact, none of the characters from King's version reappear in the Cohen sequel. Like most of Cohen's best films, A RETURN TO SALEM'S LOT has a political subtext. His genteel vampires are "old money", a metaphor for America's white, propertied ruling class, and the screenplay's dialogue emphasizes their wealth: ELDER We're all wealthy people. Can you imagine how rich you'd be if you got to live three hundred years? ANOTHER ELDER What with just real estate alone. And we own land on Boston Common and property all up and through Maine and New Hampshire--why, vampire life and financial security go together. Which is why some commentators have referred to the bloodsuckers in this Reagan-era film as "Republican vampires". During the daytime while the vampires are asleep, the town is managed by working class "drones", a race of human-vampire hybrids, raised by the vampires to take care of a. N° de ref. del artículo 201147
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