DOLORES CLAIBORNE (1995)

Unless you’ve been living in a cave for the last five decades, chances are you’ve heard of the author and one-man media machine that is Stephen King. Widely known for telling stories that sit nicely in the horror genre; penning famous works like Carrie, ‘Salem’s Lot, and The Shining, King, next to William Shakespeare, is also responsible for the most film and television adaptations ever: approximately 120 and counting!

Outside of the macabre and gruesome, his writing also crosses over to dark science-fiction fantasy with titles like The Running Man and The Dark Tower series, then there are simpler tales concerning friendship and human drama such as The Body (adapted into Stand By Me) and Rita Hayworth and the Shawshank Redemption—even combining a hint of the supernatural alongside similar themes with The Green Mile and Hearts in Atlantis. However, throughout this behemoth of content, there lie a few psychological thrillers too. One such novel, 1992’s Dolores Claiborne, was another bestseller and received strong reviews. Its story concerning repressed past family trauma obviously caught the eye of Hollywood and it was soon pushed into production, being released only two years later in the spring of 1995.

At its heart, Dolores Claiborne is a story about the complexities of mother-daughter relationships, particularly in the context of abuse and survival. Like its source material, the film delves into heavy themes such as domestic violence and psychological repression, with lead actors Kathy Bates and Jennifer Jason Leigh taking up much of the screen time in an almost two-hander theatre format. No surprises then to see it was actually adapted for the stage in 2007, achieving some success—with even the San Francisco Opera putting on a production in 2013.

The film kicks off in dramatic fashion with sounds of two women fighting upstairs in a somewhat grand house. The audience can’t see this struggle as the camera stays on ground level, but all of a sudden an elderly lady comes crashing down the stairs, with Kathy Bates’s character Dolores following swiftly behind. Amazingly, the woman is still barely alive, then Dolores rushes to the kitchen and comes back with a huge rolling pin. Just as she’s standing over her with said implement, the postman walks in and examines the elderly woman—who’s now died—cue quick accusation of murder with Dolores being detained by the local police.

Soon afterwards, Dolores’s estranged daughter Selena (Jennifer Jason Leigh), a successful New York city reporter, comes over to the fictional Little Tall Island; located just off the coast of Maine to support her and, despite her own reservations about her mum’s innocence, starts reviewing the case. What ensues when the two of them are forced to stay in the cosy confines of their old rundown house, while they discuss past traumatic events, stirs up old family wounds, including the ‘accidental’ death of Dolores’s husband Joe (David Strathairn).

While this synopsis is anything but boring, the script’s narrative structure which makes for many back-and-forth timeline jumps, together with scenes of just Leigh and Bates in heated discussion, could have so easily drifted into the realms of TV ‘Movie of the Week’ melodrama. Thanks to the sheer talent involved, though, both behind and in front of the camera, the end result is a compelling and somewhat still relevant tale of how dark secrets and trauma can damage lives years down the line.

As good as the source story is, a film always needs strong performances to make everything click into place—and this particular movie is crammed to the rafters with great actors, not least by its two incredible leading stars, Kathy Bates and Jennifer Jason Leigh. Kathy Bates was no stranger to Stephen King adaptations by the time she took on the role of Dolores Claiborne. Four years earlier, she’d won the Academy Award for ‘Best Actress’ for her chilling portrayal of Annie Wilkes in Rob Reiner’s superb Misery (1990), a performance that cemented her reputation as one of Hollywood’s most formidable talents. However, her role here showcased an entirely different facet of her range. While Annie Wilkes was unstable and frightening, Dolores’s character is weathered, world-weary, and deeply sympathetic.

The actor’s work has been widely praised over the years, with many critics at the time noting that she delivered one of her most nuanced portrayals—even Bates herself has gone on the record to say that this was her “favourite film experience”. In an interview with Newsweek back in April 2023, Bates explained that working with both an actors’ director and talented stars as part of the ensemble was a major factor: “Maybe a lot of it has to do with the fact that Taylor is married to Helen [Mirren], he understands what the actors’ process is,” she said. “And the excitement of being able to create a character that was young and old, also working with Jennifer Jason Leigh and David Strathairn.”

Going up against such a force of acting talent as Kathy Bates requires a performer of similar—if not equal—ability, otherwise the film would have lost much of its suspense and drama. Luckily, co-star Jennifer Jason Leigh more than holds her own with her interpretation of Selena St. George. Leigh began acting as a child in the Seventies with small TV parts in The Waltons (1971-1981) and Baretta (1975-78), then in 1982 she received critical acclaim for her role as a pregnant teen in Amy Heckerling’s coming-of-age comedy hit, Fast Times at Ridgemont High. By the mid-1990s, Leigh had established herself as a serious actress who seeks out tough and non-mainstream roles.

Movies like Last Exit to Brooklyn (1989), Miami Blues (1990) and Single White Female (1992) were all critical hits and showed off her acting chops to great success. Selena’s character, a deeply troubled journalist grappling with repressed memories and unresolved trauma, was no doubt challenging for her, but the results onscreen are impressive. Leigh’s performance is a perfect counterbalance to Bates’. While Dolores is outwardly hardened by her experiences, Selena is brittle and emotionally detached, a woman who had spent her life running from her past. The tension between the two actresses drives the emotional heart of the story.

Aside from the aforementioned powerhouse leads, the late great Christopher Plummer (All the Money in the World) lends his more than capable acting skills to the fore—playing Detective John Mackey, who shares some history with the St. George family (married name), and seems delighted at Dolores’s recent misfortune. Backing him up is a very young John C. Reilly (Boogie Nights) as police constable Frank Stamshaw, and then there’s English stage and screen performer Judy Parfitt (TV’s The Jewel in the Crown) giving her all with obvious relish as Dolores’s tough-on-the-surface, yet ultimately sympathetic employer, Vera Donovan. Some of the dialogue between her and Bates makes for some very entertaining scenery chewing; both actors showing their first-class abilities in how they never go over the top with the material. Rounding off the first-class call sheet is David Strathairn (The Bourne Ultimatum) as alcoholic and abusive patriarch Joe. Despite his character being totally unlikeable, Strathairn’s abilities make for a fully-rounded performance. Never one-dimensional, always believable. 

Turning to behind the camera, director Taylor Hackford, most famously known for his work on An Officer and a Gentleman (1982) and The Devil’s Advocate (1997), manages to create a dark, almost gothic tone, to the proceedings. In what could have been a stylistic mess, Hackford skilfully balances the film’s dual timelines, shifting between past and present without ever being disorientating. He also gives his players plenty of room to perform their magic, drawing out some strong emotional turns from all concerned.

Also pulling in great technical work is Mexican cinematographer Gabriel Beristain. Through his choice of tones and colours, Beristain conjures up a visual language that effectively translates the time-jump narrative for its audience; the stark contrast between the moody present-day against the brightly-lit flashback sequences support the film’s themes of memory and perception. Another strong device employed throughout is the many long takes and close-up shots between the actors’ dialogue—all helping to convey real dramatic heft and powerful emotions.

Screenwriter Tony Gilroy (Michael Clayton) deserves a mention too. His lean script coupled with dialogue that practically pops and fizzes off the screen makes for a highly entertaining viewing experience. One of my personal favourites being: “If you say you’re sorry one more time, I’ll kick your butt up so high you’ll look like a hunchback.” Yes, he has gone on the record to say that he did take whole chunks of conversation from the novel, and while I can’t say exactly which lines were taken, if they’re even half as close to that example, then who could blame him? Another great element from the screenplay is the film’s non-linear structure, this allows the viewer to gradually work out Dolores’s and Selena’s full backstory, which when you realise the full scope of what’s gone happened, makes for quite a powerfully emotional conclusion.

Upon its release, Dolores Claiborne received generally positive reviews, particularly for the performances of Kathy Bates and Jennifer Jason Leigh. Critics praised the film’s psychological depth and emotional intensity, though some felt its slow-burn narrative and bleak subject matter made it a tough sell for mainstream audiences. Roger Ebert gave the film a favourable review, noting “this is a horror story, all right, but not a supernatural one; all of the elements come out of such everyday horrors as alcoholism, wife beating, child abuse and the sin of pride”, while Janet Maslin of The New York Times said that “it’s a vivid film that revolves around Ms Bates’s powerhouse of a performance”.

Despite receiving critical acclaim, Dolores Claiborne struggled at the box office, earning around $46M worldwide against a $13M budget. While not a financial disaster, its earnings paled in comparison to other Stephen King adaptations of the time. The film’s bleak tone and absence of conventional horror elements likely limited its appeal for audiences of the day. However, in the years following its release, Dolores Claiborne has developed something of a cult following and is often regarded as one of the most overlooked films based on King’s work.

30 years later, the film has aged well. I hadn’t seen Dolores Claiborne since its cinema release, so it was almost like viewing it for the first time, and I still found it to be a powerful and moving drama, in no small part due to the quality of its actors and director. One feature I hadn’t remembered was that a key flashback sequence occurs during a (factual) solar eclipse in July 1963. Doing some research, I realised this same celestial event also occurred in King’s Gerald’s Game novel. This dramatic natural phenomenon was originally meant to feature in one anthology called The Path of the Eclipse (containing Dolores’s and Gerald’s stories), but it eventually got split into the two novels we know of today. Another interesting Easter egg, subtly shown, is that Shawshank Prison is mentioned when Joe and Dolores are fighting.

Though it never achieved the commercial success of other King adaptations like The Shining (1980) or Misery, its haunting narrative, stellar performances, and stunning cinematography all make for a worthwhile watch. Some might find it a little slow at times, but I think its pacing is appropriate to the film’s themes, so for anyone who loves a well-told story that clearly had much care and hard work put into it, a trip to Little Tall Island could be well worth your time.

USA | 1995 | 132 MINUTES | 2.39:1 | COLOUR | ENGLISH

Cast & Crew

director: Taylor Hackford.
writer: Tony Gilroy (based on the novel by Stephen King).
starring: Kathy Bates, Jennifer Jason Leigh, Christopher Plummer, David Strathairn, John C. Reilly & Eric Bogosian.