Misery

Author’s Note: Some spoilers populate this review, because it’s impossible to thoroughly appraise Misery without unpacking some of the film’s more macabre elements. The uninitiated are advised to watch the film Asap, then return to this space.

The most famous non-fiction line coined by the recently departed screenwriting genius William Goldman is undoubtedly “Nobody knows anything,” a great dig at the expense of Hollywood tastemakers. That statement, coined in one of Goldman’s terrific behind-the-scenes screenwriting memoirs, Adventures In The Screen Trade (1983), was designed to reflect the fact that, essentially, churning out cinematic hits amounted to educated guesswork from everyone involved. When applied to William Goldman’s expert writing — captured across 24 produced screenplays (along with several official consultant jobs and probably dozens of unofficial script doctoring gigs), 16 novels, seven memoirs, an abundance of non-fiction magazine articles, a handful of theatrical plays and teleplays, and a children’s
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