But I fucking gave up. “Interesting” and in some ways fascinating in a surreal sort of way, but too long, too labrynthian, too complicated, too many odd tangents. distractions and trail-offs. Plus I’ve never been a fan of King’s rural, inelegant writing style.
A decade ago I tried watching JJ Abrams’ Hulu adaptation when it first popped on 2.15.2016, partly because I knew James Franco (whom I came to know slightly around 15 years ago) and Chris Cooper would be excellent. And they were. But I gave up after two or three episodes. Again, too labrynthian, etc.
Last night I finally watched the last three episodes, and holey moley! I found myself melting down from the dance-hall ending with old Sadie (Constance Towers**) giving her “Texas Woman Of The Year” speech….touching, affecting…hell, devastating. Absolutely one of the most poignant sum-up poems about the pain and joys of life to be used in a filmed drama.
One one level, the finale of 11.22.63 radiates a kind of yogi wisdom about letting things play out according to their own roulette wheel scheme and basically letting the chips fall.
On another level it says “if there’s a choice between saving the life of your beloved, blonde, true-heart girlfriend (young Sadie is played by Sarah Gadon) and preventing President John F. Kennedy from suffering a bloody, brain-splattering death in Dealey Plaza, the blonde wins. Partly because letting Kennedy live means George Wallace will be elected president in ’68.
** Shock Corridor, The Horse Soldiers, Sgt. Rutledge, married to John Gavin…still with us at age 92.
Old Sadie Dunhill’s poignant speech at the finale:
“We did not ask for this room or this music. We were invited in. Therefore, because the dark surrounds us, let us turn our faces toward the light. Let us endure hardship to be grateful for plenty. We have been given pain to be astounded by joy. We have been given life to deny death.
“We did not ask for this room or this music. But because we’re here, let us heed the words of the great David Bowie — ‘let’s dance.’”