Delving into the realm of Stephen King adaptations can often lead to thrilling discoveries, and the 2007 film 1408, starring John Cusack, is a prime example of an unexpected cinematic pleasure. Having approached the movie without prior knowledge of the short story, the experience was intriguing, though not overwhelmingly groundbreaking. The film’s central concept, revolving around psychological tension, is undeniably clever, yet it treads familiar territory. Interestingly, the core idea subtly echoes Anne Rivers Siddons’ novel The House Next Door, a book King himself admires and discusses at length in his non-fiction work Danse Macabre. The scene where John Cusack’s character confronts a videotape featuring his deceased daughter bears a striking resemblance, in essence, to a similar scene in The House Next Door, albeit with different characters and contexts.
The movie truly gains momentum in its second act when John Cusack‘s character, Mike Enslin, checks into the infamous room 1408 at the Dolphin Hotel. The suspense builds masterfully, and in a truly surprising twist, a Carpenters song becomes an unsettling element of the horror. The use of their music, played at a distorted, half-speed tempo during a flickering electricity scene, is particularly effective in creating a sense of unease. This unsettling application of The Carpenters’ typically soothing music is reminiscent of Todd Haynes’ unconventional use of their discography in Superstar: The Karen Carpenter Story. Haynes masterfully manipulated tracks like “We’ve Only Just Begun,” “Superstar,” and “Close to You” into a demented medley, achieving a powerfully disturbing effect. In 1408, the recurring, warped snippets of a Carpenters’ song amplify the psychological disintegration experienced by John Cusack’s character, adding a layer of unexpected creepiness to the supernatural horror.
This instance in 1408 is not an isolated incident of Stephen King weaving Carpenters references into his narratives. In The Regulators, amidst neighborhood chaos, a character reflects on the normalcy of their street, “where every family house still holds a Carpenters album.” Thinner subtly nods to Karen Carpenter’s tragic passing when the protagonist’s relentless weight loss is described. Even in Cell, during scenes depicting groups of mind-affected individuals clustering at night, the unsettling sounds they emit are described as “tuning in” to songs, including “Close to You.” The online forum Leadsister.com even hosts a dedicated thread cataloging Carpenters sightings across various media, further illustrating this cultural phenomenon.
King’s appreciation for Karen Carpenter extends beyond subtle nods in his fiction. Following Anna Nicole Smith’s death, he penned an insightful article for Entertainment Weekly drawing parallels between Smith and Karen Carpenter, highlighting the tragic aspects of fame. He wrote, “There are many more, but the American fame machine’s most perfect example may be Karen Carpenter, who was much more talented than Smith, if not so pretty. Carpenter died at 32. Of anorexia, the American girl’s fairy-tale disease.” This statement underscores a deep respect for Carpenter’s artistry.
It’s clear that Stephen King’s appreciation for The Carpenters is more than just casual. The use of their music in 1408, particularly with John Cusack at the helm, adds an unexpected and chilling dimension to the film, proving that even the most wholesome sounds can be twisted into instruments of horror. Perhaps Stephen King is indeed a closeted Carpenters fan, finding inspiration in the juxtaposition of their seemingly innocent music with darker themes, a contrast effectively brought to life in 1408.
