The Lennox Spotlight: “Cujo” is a staple in the horror genre
Cujo is one of Stephen King’s most personal works, and in many regards, a coruscating portrait of contemplative action for one’s loved ones.
King’s novel centers around a friendly dog, who spirals into madness, terrorizing a mother and son, trapped in a Ford Pinto during a scorching summer in Maine.
More often times than not, feelings of addiction take over and the process to recovery is tedious and arduous.
In fact, the Misery author wrote the novel as an allegory for what happens when one doesn’t seek treatment for addiction, ultimately rendering loved ones as powerless to save.
The monstrous St. Bernard is Donna Trenton’s (Dee Wallace) mistakes coming to the forefront.
Cujo is a manifestation of indifference and a fractured marriage on Donna’s part, after her long affair with Steve Kemp (Christopher Stone).
Though her husband, Vic Trenton (Daniel Hugh Kelly) is oblivious to affair, Wallace’s Donna is remorseful, before the happenings with the rabid St. Bernard.
Donna tells Kemp she does not wish to jeopardize her marriage further, opting to end the affair.
But upon Vic finding out, trust between the two is broken, before he goes on his work trip, neither knowing what will transpire in the coming days.
Cujo is a symbol of internalized rage one has when confronting larger demons that seeks to threaten our relationships and familial connections.
King’s Cujo is an overlooked examination of the outward struggle with addiction and the inward fear of mortality.
Towards the film’s end, Donna musters up strength to save her only child, Tad from heat exhaustion.
In that moment, Donna reclaims her fear of death, similar to the horror author in his solo pursuits for the same.
Cujo never seeks to infantilize the audience.
It does seek, however, to challenge the mind to reconsider and examine the fears that haunt us.
It is only then that we can grow and mature into what we are meant to be.
