James Herbert: The British King is Dead, long live the British King

British horror author, James Herbert, who has died at the age of 69, was often known as ‘the UK’s answer to Stephen King’. In actual fact the pair were fond friends and their careers began rather fittingly almost at the same moment, Herbert had his first novel, The Rats, published just a few months before King debuted with Carrie in 1974.

Over his 20-something books Herbert has sold over 50 million copies, a number only bettered in the horror genre by none other than King himself. But, Herbert was the undisputed number one British author of frightful fiction and he was certainly a big part of my growing up.

I tried getting into King, I really did, but his books just gathered dust on my shelf, Herbert was another matter entirely. Before you knew it you’d be half way through a book and half way through the night with dark circles under your eyes and a crick neck to boot.

I entered into Herbert’s vividly descriptive world, like most no doubt, through The Rats and its sequels Lair and arguably his magnum opus, Domain. The original’s locations were heavily inspired by Herbert’s childhood, and the latter, rather ironically seeing as it dealt with London after a nuclear attack, blew me away, the opening chapter with the melting policeman setting the tone of furry things to come.

The Fog, no nothing to do with the John Carpenter film, was swiftly consumed after that, along with Jonah, The Survivor, Haunted, ’48, Portent and The Spear, a personal favourite which would make such a great film, all receiving well-worn spines and dog-eared covers. They were perfect for any teenager, full of glorious descriptions of death and full of just as glorious descriptions of sex, and as with most horror it didn’t generally end very well.  ’48 was a (then) rare purchase in hardback, I bought it when I was at University and it dealt with an alternate World War 2 reality, it was also written in the first person. I remember buying that hardback edition, probably my first. It almost seemed akin to Charlie buying his Wonka Bar.

Those early works, in particular, still hold an amazing sway and power, the imagery they produced (even when you close your eyes) still remain. They are just so raw and nasty, almost primeval and totally unputdownable. Talking of imagery I always liked the covers, which were apparently all designed by Herbert himself as he used to work in an ad agency. I’ll always remember his folded arm stance in that black leather jacket as well for his book photos.

I’ve a sneaking suspicion that The Rats and Company will be padding their way back down from the loft, as I am sure they will be with lots of other people. Expect some of his old favourites to make reappearances on best-selling lists and on tube trains, The Rats ‘infesting’ London just like they did back in 1974 when the 100,000 run sold out in just three weeks.

When talking about his work, perhaps Stephen King put it best when he said: “James Herbert comes at us with both hands, not willing to simply engage our attention, he seizes us by the lapels and begins to scream in our faces.”

Even over 25 years after picking up my first Herbert novel I can still hear the screaming…long may it continue.

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King of Cameos

Stephen King has long been the number one name in horror but over the years his face has turned up, mostly in cameo appearances, in many of his adaptations long before the likes of Stan Lee was mugging in the background of the latest Marvel release.

King may not have been spotted stacking shelves in Haven just yet but Dean Newman takes a look back at the King of cameos.

Pet Sematary (1988)

This was the first of his books that King adapted for the screen, as well as scribing duties King also wound up popping up in the graveyard, how apt, as the minister giving the service at a funeral. It was a clip that was also heavily used in the trailer and King really looks to be relishing the role and is certainly my favourite appearance and so very apt to be surrounded by all that death with King as much the master of ceremonies as he is the master of horror.

Stand By Me (1986)

Okay so King himself doesn’t actually appear physically but the film, based on the short novella The Body, is semi-autobiographical and clearly King as the young writer to be. So essentially King is Wil Wheaton and Richard Dreyfuss, the latter who mostly appears as a voiceover apart from at the very end in perhaps one of the greatest most poignant endings in film history. King still has the marks left by the leeches scene…

Creepshow (1982)

 Less of a cameo as King appears in one of the segments In Creepshow, Stephen King plays Jordy Verrill in the segment entitled “The Lonesome Death of Jordy Verrill.” Jordy Verrill, a country bumpkin, discovers a meteor on his property and soon finds himself, and his entire home, consumed by some sort of meteor fungal that first takes over his house and then him – can’t wait to see what Dr Pixie makes of that on Embarrassing Bodies!

King also played a Truck Driver in Creepshow 2 during the segment, The Hitchhiker

The Stand (1994)

For many The Stand is regarding as King’s magnus opus and as such he delivered a script for epic in scope television adaptation. It was perhaps only fitting then that King kept on popping up, just to keep an eye on proceedings you understand, as Teddy Weizak throughout this land mark mini-series.

Maximum Overdrive (1986)

If it wasn’t committed to celluloid then King probably wouldn’t even remember his turn as an irate man at a cashpoint who swiftly gets his comeuppance due to the fact, by his own self admission, that he was pretty much off his face on drugs during this period. A curio more than a classic.

The Shining (1997)

No, not that one. Although the Kubrick version is hailed as a classic of horror cinema, King hated it, so, as you do, he had it remade closer to the original novel as a two part TV movie. In this adaptation King has a turn as the band leader.

Quantum Leap (1990)

Oh boy! In this horror tinged edition of the time travelling do-gooder Sam Beckett, which takes place on October 31st 1964 and sees him end up meeting a young boy who just so happens to have a dog called Cujo, that’s right a young ‘Stephen King’.

Allusions to other King books include Christine, Carrie and The Dark Half, and the episodes title? The Boogieman.

The Simpsons (2000)

Appeared as himself signing books in the episode Insane Clown Poppy, obviously a riff on IT. As an interesting side note, one of his more recent books, Under the Dome, was reminiscent of certain elements of The Simpsons Movie, not the Spider Pig bit I should imagine though.

The X-Files (1998)

King cameoed off screen as a writer of one of the shows fifth season episodes, Chinga, that dealt with witches, possessed dolls, random acts of violence (seeing as you ask people gouging their own eyes out), all of course set in Maine (where else!)

Sleepwalkers (1992)

 He was the cemetery caretaker in ‘Sleepwalkers’ –perhaps he should have buried it before it was released. It’s rather shonky to say the least with only the rather lovely Madchen Amick as its redeeming feature. He shared screentime in the good company of fellow horror scribe Clive Barker.

Horror hits high gear: remembering Maximum Overdrive

Stephen King adaptations have been part and parcel of the horror movie-going experience for more than 30 years and the results have been somewhat patchy, with The Shining and The Dead Zone at one end of the spectrum and the likes of Cujo at the other.

Also sitting pretty at this end of the line is Maximum Overdrive, a film based on a King short story (as so many are) featuring Emilio Estevez. But what sets this apart from other King fodder is that this was the first, and to date, only time that the bespeckled Maine writer has stepped from behind his typewriter to behind the lens to direct.

It’s a mess of a movie sure, but as always with ‘the King of horror’ there are intriguing ideas and interesting images to be had along the way, and to be honest it’s a gloriously fun B-movie in the same vein as Night of the Comet, Cat’s Eye and Creepshow, the latter two of which King was also involved in.

In many ways this is Transformers without the machines transforming into robots but what it does share with its Cybertron cousins is that is has plenty of explosions as pretty much everything you see on screen is blown to smithereens.  Unlike those robots in disguise there are also several rather cool and memorable death scenes including death by lawn mower, a cold drink machine that fires its cans of drink with deadly accuracy and a steam roller that makes a squidgy mess of a baseball team.

With a premise such as this, the emphasis is purely on the fun factor rather than the fear factor, which no doubt disappointed many, but when it’s someone like King running the show there is always some fun to be had. Sure, Emilio Estevez is the only character we give two hoots about (also look out for an appearance by Yeardley Smith AKA Lisa Simpson).

The ‘story’, as little of it there is, unfolds as thus: After a comet passes over earth it leaves a haze surrounding the planet which takes control of machines, making them deadly killers (no reason for this is given but we don’t really need or want one as it would only get in the way), it’s almost a homage to the likes of Day of the Triffids with machines running amuck instead of those pesky plants. A group of people try to stay alive hold up at the Dixie Boy truck stop, think of it as The Alamo with articulated lorries, including the particularly memorable ‘leader’ which has a face not too dissimilar to The Green Goblin.

Released in 1986, this was also the year that Halley’s Comet passed by close to Earth, so it could be seen as a reaction of that as being a supposed harbinger of doom, as it was allegedly sighted before The Battle of Hastings. It could also be seen as a pre-curser to the worry, even though it never materialised, over the likes of Y2K. For all of its comedy and its big bangs it certainly takes a tiny leaf out of the James Cameron book of doom mongering in posing questions about our over reliance on new technology and how we would cope if it bit back.

Before the days of mobile phones and our devotion to all things technology you can’t help but wonder whether it wouldn’t be the right time for a remake of sorts, like all geniuses perhaps King was just ahead of his time with this particular tale?

The mindless mayhem and death and destruction are worth a peek on its own and surely a film with little leaguers getting neatly pressed by a steamroller can’t all be bad!! A bonafide cult classic.

King of Kings: the top ten Stephen King adaptations

10. Carrie (1976)
Fittingly both the first novel penned by King and his first ever film adaptation, helmed by Hitchcock super fan, Brian De Palma. The split screen technique may have dated it all somewhat but that still doesn’t deny the film its power and ferocity. Nobody likes a bully and Sissy Spacek ensures we have a character that is both likable and much misunderstood.

A high school revenge coming of age horror, Degrassi Junior High was never like this; Carrie is note perfect in showing that bullies never prosper. The pig’s blood scene is truly iconic and disturbing whilst the scare the bejesus out of you ending has been oft-imitated but rarely bettered. With its soft focus at times it has a dreamlike feeling to it, but don’t fool yourself this is bonafide horror.

9. Pet Sematary (1989)
The film boasts some genuinely scary scenes, possibly the most frightening flashback sequence ever and Hermann Munster!

It’s undeniably creepy and raises some interesting questions about morality, death and how we deal with grief. Kings own screenplay adaptation, he even has a cameo at a funeral, blends supernatural horror with the ultimate real life horror of losing your family. The person you bury may return to life, but they aren’t the same person, there is something missing, something evil about them.

It also has an ancient American Indian burial ground, which is never, ever a good sign in a horror movie, even though it looks brilliant thanks to some excellent production design, a zombie cat, a murderous toddler with a scalpel that makes Chucky look like Maggie Simpson, and one helluva an ending. As former Munster, a fantastic Fred Gwynne, utters, “sometimes dead is better”.

8. The Mist (2007)
Also directed by Darabont this dark tale was pretty much ignored upon theatrical release, which is a crying shame as it’s a blinder. A small town is effectively cut off after a mysterious mist descends on it. Much of the town hole themselves up in the local supermarket until something starts attacking people and dragging them into the mist.

Essentially a classic 50s B-movie monster movie this has scares and effective special effects aplenty. To underline this fact it was even released on DVD in America with the option of you watching it in black and white, which it works in fantastically well.

Many of the towns folk are as terrifying as the creatures themselves and it has a real post 9/11 feel about it in places, as ever King showing us that people can be just as monstrous as actual monsters themselves. It could also be viewed in many ways as the anti-War of the Worlds and has a truly dystopian ending that will leave you reeling. An effective piece of film making that never loses your attention.

7. The Green Mile (1999)
After The Shawshank Redemption this is Frank Darabont’s second stab at a King adaptation and for me is the better, more absorbing of the two. I know for many they find it overlong and over sentimental but you cannot deny its power to grab you, to fall in love with a mouse, to hate that guy who played Tooms on The X Files, swear at the television as you release his actions and fall in love with the gentle giant of Michael Clarke Duncan.

Once again Tom Hanks proves why he is this generation’s James Stewart and is therefore rather fitting that although it deals with death row inmates and supernatural undertones it has a distinct Capra-esque feel to it. I defy you not to cry.

6. Misery (1990)
Kathy Bates even outshines Jack Nicholson here and is the only actor to pick up an Oscar for a role in a Stephen King film as the ‘wouldn’t hurt a fly as nice as pie’ Annie Wilkes. Dirty bird. Simple, terrifying and almost primeval in its horror.

James Caan’s character is ‘rescued’ from a car crash by his number one fan, just turns out she is a tad loopy and none too pleased he has killed off his lead character. Features one of the most wince-inducing moments in cinema, a tour de force, essential viewing and far more horrific than all of King’s possessed cars, vampires and children with strange powers put together.

5. The Shining (1980)
Stephen King has never had much time for this adaptation but this is the ultimate haunted house (well, hotel) movie. It’s not so much scary per se but with its astounding visuals, it being one of the first films to fully utilise the steadicam, symbolism and uneasy foreboding it certainly leaves you breathless. Added to that Kubrick really makes you feel the coldness and isolation.

Nicholson defines bonkers with his splendid turn, whilst his son, played by Danny Lloyd, criminally in his only film role, manages to make his finger one of cinema’s scariest things ever. Redrum, redrum, redrum. Lifts and indeed triple Grand National winners were never the same again.

4. IT (1990)
Another made for TV adaptation, this time directed by John Carpenter alumnus, Tommy Lee Wallace. Tim Curry is electric as Pennywise the Clown.

The first part is brilliant stuff, part Stand By Me, part your worst nightmares. It’s just a shame about the really lame giant spider in the (anti) climax. 

Soon to get the remake treatment. Keep Curry and the storm drain; squish the  spider in a giant tissue.

3.    Stand By Me (1986)

King isn’t just all about horror. Stand By Me is an adaptation from one of his novellas, The Body, and it’s a life-changing film that is right up there with It’s A Wonderful Life in the timeless classic stakes.

Semi-autobiographical, it recounts the tale of four young friends as they spend a summer holiday searching for a dead body. They set out eager to get a peek at the corpse but each of them grows and changes along the way.

The ending is now all the more poignant since the death of River Phoenix and those dullest tones of Richard Dreyfuss scattered throughout add gravitas. With dialogue like, “I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?”

2. Salem’s Lot (1979)

Made for TV in two parts but released theatrically in a shorter form in the UK, it’s the two-part version that is getting the thumbs up here. Directed by none other than Tobe Hooper this has to be one of the most jump inducing things to have ever graced TV screens.

Vampires taking over a small town are the order of the day as a best-selling author (David Soul) returns home but all is not as it seems. James Mason is kooky and his business partner, Mr Barlow, is clearly Nosferatu inspired and frankly disturbing. The scene where a floating vampire child appears at a window scratching and beckoning its next victim, with smoke and shot backwards to complete the eerie effect, still holds up as a classic scene to this day. You’ll never leave your curtains open again.

1.    The Dead Zone (1983)   

This sterling adaptation is one of Director David Cronenberg’s more mainstream, accessible films. Christopher Walken excels with a haunting performance as school teacher Johnny Smith who is involved in a car accident and awakes from a coma several years later to discover he is ‘blessed’ with the ability to see a person’s secret or future by touching them. 

It’s got an uneasy, claustrophobic feel throughout in everything from camera shots to lighting and especially Walken’s off-kilter turn. A fantastic psychological thriller with more than the odd jumpy moment which also sees fine support from Herbert Lom, Brooke Adams and Martin Sheen. A great ending.