Review: The Stand

A government-engineered super-flu experiment ends up inadvertently causing the deaths of all the scientists involved, before eventually breaking out into the general population. Before long most of America’s population have succumbed, despite the U.S. military’s attempt to contain the situation. Somehow though, several people appear to be immune to the virus. These few survivors appear to be having one of two dreams: Either visions of a cornfield and a maternal elderly woman calling herself Mother Abigail (Ruby Dee) calling on them to come and see her soon. Or, visions of a dark, seductive figure whom we eventually learn calls himself Randall Flagg (Jamey Sheridan). Basically, one represents the forces of Good, the other of Evil, and it’s time to make a choice. Gary Sinise essentially plays out lead protagonist, whilst Molly Ringwald plays a young woman whose father (Ken Jenkins) gets sick, with Corin Nemec as the sour nerd who has an unrequited crush on her. Adam Storke plays a one-hit wonder musician who picks up Laura San Giacomo along the way, but their different nightly visions may seem them head in different directions. Bill Fagerbakke and Rob Lowe play a simpleton and deaf mute, respectively, whilst Ray Walston and Ossie Davis are the token senior citizen survivors of the outbreak. Matt Frewer and Miguel Ferrer play the frazzled ‘Trash Can Man’ and a con, both of whom will be called upon to serve Flagg’s evil intentions. William Newman plays a doctor, Troy Evans a local lawman, and Max Wright is an oily government representative.

Directed by Mick Garris (the Stephen King adaptations “Sleepwalkers”, “Riding the Bullet”, and “Desperation”), while I’m sure the epic Stephen King novel is even better, this 1994 TV miniseries is one of the better apocalyptic stories you’re likely to come across. Being done for TV, the film’s look, FX, and in some cases acting aren’t quite up to grade, but the story still has a power and epic feel to it that puts it ahead of most Stephen King adaptations, whether for TV or film. It’s a story about the end of days, and how the remaining humans need to pick a side between good and evil. That’s pretty irresistible stuff right there, even if some actors (especially Ruby Dee, Gary Sinise, Matt Frewer, and Laura San Giacomo), are more effective than others (principally Jamey Sheridan, Adam Storke, Ed Harris, and Bill Fagerbakke). Despite the very TV-movie look to it and the obvious use of a soundstage for the cornfield scenes, the film does give off an appropriate doomsday vibe from the beginning. Clouds, black birds, people suddenly getting deathly ill, etc. Vintage apocalyptic stuff of the biblical kind, even if by now it has somewhat become cliché. Meanwhile, for a film with such a wide scope, it’s not unruly or unwieldy.

The late, great Ruby Dee is playing a bit older here than she was at the time (she was 72 playing 100+), but 14 year-old me didn’t know that and 37 year-old me is still impressed. She looks at least in her late 80s and yes there is a difference. The old age makeup on her is still some of the best I’ve seen. The highlight of the entire show, she gives a great performance playing the story’s most memorable and vivid character. In the wrong hands she could’ve ended up being Aunty Remus, but Dee gives the role some depth, dignity, and power. Such a shame then, that on the other end of the good vs. evil scale we have the underwhelming Jamey Sheridan, completely miscast as basically an underling of Satan, named Randall Flagg. In a role that cries out for Julian Sands, James Woods, Michael Madsen, or Billy Drago (or even Patrick Kilpatrick who shines here as a creepy thug in a much smaller appearance), Sheridan is more fatuous than he is menacing and looks goofy as hell trying to play the supposedly darkly romantic/seductive side of the character as well. He cuts a creepy figure early on when he’s seen somewhat in shadow with glowing eyes, but once you see Sheridan’s baby blues, the mystique and intimidation factor dissipates completely. He looks like “Teen Wolf” with a meth habit. I did think it was priceless that Flagg sets up his home base in Vegas, though. That’s apt, and there is something sick about him preying on the weak-minded and easily manipulated, rather than having purely venal or evil followers. In what is an otherwise pretty serious story, Sheridan’s miscasting renders Flagg a bit small-fry and weirdly out of place. He reminds me a bit of Ron Perlman in a fairly similar King adaptation “Desperation”. That was one of Perlman’s least effective performances, and similarly fatuous. One does tend to think that Perlman would’ve at least made for a more intimidating Flagg here, however. Perhaps the character wasn’t written to be menacing (Author King having written the teleplay here himself), but in my opinion it should be, given his function in the story. Also not terribly impressive is the bland and frankly a little unlikeable Adam Storke from “Mystic Pizza”. He’s incredibly boring and everyone around him acts circles around him, especially a well-cast Laura San Giacomo and the always wonderful Ray Walston. The latter had an energy to him even at this point that belied his age, while former manages to steal Part 3 of the series entirely. Ed Harris has done much better work before and since this, uncredited playing a pressured military man in surprisingly amateurish and very rough fashion. Did he have to film his scenes on a super-tight schedule or something? As for Bill Fagerbakke, he isn’t awful but he does seem to come from a local production of “Of Mice and Men”. He lays the Lennie schtick on a bit thick. While I did like the idea of using hypnosis to get him to retain important information, I think pairing him up with a goofy Rob Lowe as a deaf mute for much of the film, is a little too saccharine for me. It probably plays out better on the printed page.

On the plus side, an ideally cast Gary Sinise provides a sturdy anchor as essentially our chief protagonist, and Max Headroom himself Matt Frewer is one of the acting standouts, albeit a bit broad as the rather tragic Trash Can Man. You’ll feel a bit sorry for this mixed up, easily manipulated pyromaniac weirdo. Molly Ringwald is also well-cast and moved away from the red hair she was famous for in the 80s here. In my opinion it’s her best performance to date behind “The Breakfast Club”. “Scrubs” actor Ken Jenkins is surprisingly good as her loving father, a million miles away from cold-hearted Dr. Kelso. As for Corin (Corky) Nemec, he tries his best but is handed a lemon here. It may work a lot better in the book, but Nemec’s zit-faced, taped dork glasses wearing, jerky jilted nerd character is so broadly drawn that it doesn’t help him at all. This guy’s an arsehole version of Duckie from “Pretty in Pink”, and Duckie was kind of a jerk too if we’re being honest. In smaller roles, the late and sorely missed Miguel Ferrer (who originally wanted to play Flagg but was turned down for being too familiar) is his usual solid self, and there’s terrific small character work by Troy Evans, William Newman, Rick Aviles, and the perfectly cast Max Wright and Shawnee Smith. I must say I found Kathy Bates’ cameo a bit perplexing. She’s well-cast as a late-night radio host, but it’s a walk-on just about. Meanwhile, yes that is John Landis and Sam Raimi in cameos, no they’re not very good, and no they should not be here. At least Kareem Abdul-Jabbar gets a couple of scenes as some kind of homeless doomsday prophet.

The jump in time between parts 2 and 3 really is a bit unfortunate, and the late, great Ossie Davis seems to just spring up out of nowhere. The respected and important figure in African-American cinema really did deserve a better treatment here I think. The final 90 minutes aren’t as strong as the first, undoubtedly. I think that’s partly because Dee’s Mother Abigail is gone (too early in my view) and Sheridan’s Flagg dominates to little good effect. Don’t even get me started on the awful ‘Hand of God’ FX.

Imperfect, but irresistible stuff, basically a mid-90s version of the biblical apocalypse and a battle between good and evil for the souls of humanity. Some of the casting works better than others, but this does have some staying power to it. Although I might offer up Romero’s “Dawn of the Dead” as superior, Garris and co do a very commendable job at putting on an epic-length apocalyptic vision at least in regards to the TV miniseries format. I just think it could’ve been even better.

Rating: B+