Stephen King has long prepared us for unsettling futures. His works often mirror our darkest fears, like the chaos of a pandemic in The Stand or the rise of political demagogues in The Dead Zone. Notably, two of his stories written under the name Richard Bachman take us to an economically devastated America. Here, citizens are entertained by deadly televised games. Coming soon is a new film adaptation of The Running Man, while The Long Walk is just hitting theaters, both feeling alarmingly relevant today.
The Long Walk tells the story of young men who join a brutal march where only one survives. The winner gains wealth and a wish, but the walk comes with dire consequences—stop or slow down, and you’re shot. King’s vivid portrayal of violence is intense, but amid the chaos, we see deep connections form, especially between Ray Garraty and Pete McVries. Their friendship becomes a lifeline in a dire competition where their survival relies on each other’s failures.
Screenwriter JT Mollner sticks close to King’s original storyline, but the film’s release allows for a new perspective. When King wrote this novel in the late ’60s, it echoed the sentiment of the Vietnam War. Today, it feels eerily prescient with allusions to a second Civil War in our divided political landscape, where inflammatory rhetoric has surged. Economic struggles that drove King’s narrative now hit closer to home, with lines like “People with a lot of money doing good is a myth” resonating strongly.
The autocratic leader in the film, known as the Major, played by Mark Hamill, has an even bigger part than in the book. His connection to Ray shapes the young man’s motivations. In the film, Ray’s father is executed by the Major for voicing opposition, shifting Ray’s quest for vengeance over his father’s fate as a driving force.
While King’s Pete reveals the futility of the Long Walk, the film’s version offers hope. He tells Ray that vengeance isn’t the answer and suggests wishing for a shared victory instead. This adds depth to their dynamic, creating a richer narrative amid the bloodshed.
As the story progresses, both Ray and Pete face impossible choices. Unlike the book, where Pete chooses to give up and is killed, the film presents a shocking twist. Ray stops, professes love for Pete, and faces execution. In a heart-wrenching moment, Pete then uses his wish for revenge, shooting the Major instead of fulfilling his original intent. This bold ending challenges viewers to reconsider the film’s messages about love and sacrifice.
Some might argue this ending diminishes earlier themes about humanity during hardship. However, it reflects a more complex reality. The film captures the struggle for connection even in despair, highlighting how these bonds push the characters to keep enduring. Yet, it also acknowledges a harsh truth: Love isn’t always enough to navigate a system designed to dehumanize.
The film concluding with such raw emotion resonates with both sides of the political spectrum. It suggests that, at some point, dignity in the face of suffering might no longer be viable. Instead of validating Pete’s optimistic approach, the film takes a darker route, showing that searching for hope can sometimes feel futile. “Everyone loses,” Pete muses, and this sentiment rings painfully true as the characters spiral into a system where real victory may be unattainable.
Ultimately, The Long Walk serves not just as a story but as a reflection of the struggles we face in today’s world. With its themes of friendship, sacrifice, and the chilling impact of autocracy, it remains a poignant reminder of the fight for humanity in trying times.
For further insights into the film’s themes, you can read more about the socio-political climate in which it was released in this Wired article.
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movies, endings, the long walk, stephen king, vulture section lede, mark hamill, cooper hoffman
