![]() ![]() ![]() No, for the most part, “1922” draws a straight line down a hill from a violent act to complete insanity, a not uncommon theme for King, who has long been fascinated by what happens when men choose murder over reason. ![]() ![]() So there’s a sense that we’re being told a story from an unreliable narrator, although not quite enough is made of that cinematically. “1922” is told primarily in flashback, as a clearly-troubled Wilfred has come to a hotel room like the protagonist of Edgar Allen Poe’s The Tell-tale Heart, haunted by demons he himself created. For reasons that aren’t completely captured in a believable way, Wilfred decides that the only way to make this dilemma go away is for Arlette to die, and he convinces his son to help him. Henry has fallen for a neighbor girl named Shannon Cotterie (Kaitlyn Bernard), and moving to the city will tear these young lovers apart. Wilf commits his first despicable act when he weaponizes his son’s first love. That’s for the dumb people, and the James family isn’t dumb. Arlette clearly dislikes life in the country and wants to sell her half of the farm to a local livestock company, but you can literally see Wilf’s skin crawl when his wife dares mention moving to the city. With leathered skin from working in the fields and a remarkable Southern drawl, Thomas Jane plays Wilfred James, a Nebraska farmer with a bitter wife named Arlette ( Molly Parker) and a loyal son named Henry ( Dylan Schmid). ![]()
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