Best Characters from Films Based on Stephen King Novels

Even if Stephen King himself was not satisfied with the film adaptations of his novels, objectively speaking, the characters created in these productions have gone down in cinema history as some of the best-written. This is a fact that is hard to dispute. These characters almost exist beyond King’s original works, which does not diminish his literary genius or the quality of these portrayals. One could only wish that such remarkable characters could be created without literary prototypes, but that is incredibly challenging. Below are 10 examples of the most interesting characters King has conceived, who gained entirely new, independent lives thanks to their film adaptations.

Andy Dufresne (Tim Robbins) – The Shawshank Redemption (1994), dir. Frank Darabont

The best film of all time? Perhaps not, but it is certainly one of the best movies you can watch repeatedly without getting bored. Ultimately, it doesn’t really matter whether Andy killed his wife or not. The moral reflection on his actions takes a backseat to the story of his current life and his fight for freedom. Undoubtedly, this is the role of Tim Robbins’ career and the masterpiece of Frank Darabont’s filmmaking.

David Drayton (Thomas Jane) – The Mist (2007), dir. Frank Darabont

Years have passed since The Mist premiered—a good movie, albeit one overshadowed by The Shawshank Redemption. In making it, Frank Darabont created a cinematic juggernaut that consumed everything else in his portfolio. David Drayton in The Mist is certainly not Andy Dufresne, but his character development leads to a terrifying climax. Broken and on his knees, amidst humans rather than monsters, David can only scream in despair. It’s one of the most heart-wrenching endings in the history of horror cinema.

Paul Sheldon (James Caan) – Misery (1990), dir. Rob Reiner

I’ve often wondered what Paul Sheldon’s life would have been like if Annie Wilkes hadn’t entered it. What meaning would his writing career have had? He would never have experienced the essence of horror—sensations he had only simulated on the pages of his novels. Annie Wilkes masterfully directed both his talent and career. From an acting standpoint, it was Kathy Bates who pushed the equally weary James Caan to legendary professionalism. Caan crafted Sheldon’s character so vividly that it’s hard to forget, even when comparing him to the literary original.

Jack Torrance (Jack Nicholson) – The Shining (1980), dir. Stanley Kubrick

Jack Torrance had to make this list, even if King himself wasn’t a fan of Kubrick’s interpretation. But King didn’t offer a better cinematic alternative, especially in terms of acting. Jack Nicholson delivered a remarkable portrayal, perhaps stripped of the magical element of descending into maniacal psychosis. However, it is precisely this realism that makes Torrance so terrifying. There’s little supernatural about him—his horror is empirically human, the kind anyone might encounter without retreating to an isolated hotel at the edge of the world.

Danny Torrance (Danny Lloyd) – The Shining (1980), dir. Stanley Kubrick

By contrast, Danny is a far more magical character. His conversations with his finger may seem bizarre, but they carry a metaphorical resonance of horror and the supernatural, eluding psychiatric explanations. Danny’s youth adds another dimension to his character—he views the world not naively, but in a more elemental and primal way. This simplicity makes his immature perspective genuinely unsettling.

Jessie Burlingame (Carla Gugino) – Gerald’s Game (2017), dir. Mike Flanagan

King is a master of blending layers of reality. This narrative complexity, where fiction intertwines with reality, often leads viewers astray in assessing a situation. For Jessie Burlingame, an erotic game with her husband is, in fact, a façade. It doesn’t lead to a simple scenario of escaping physical restraints to save her life. The handcuffs binding her wrists are merely a surface-level problem—the real chains are in her mind. Are they symptoms of mental illness, or has she encountered a demonic force in a liminal moment? The ambiguity is chilling.

Carrie White (Sissy Spacek) – Carrie (1976), dir. Brian De Palma

A tormented soul trapped within herself, Carrie White’s personality is suppressed until murderous instincts find an outlet. She is often seen as a villain, but that’s not entirely accurate. Brilliantly portrayed by Sissy Spacek, Carrie is simply a girl exacting revenge on those who tormented her. She administers justice because she has no other way to deal with her emotions. The climax of her vengeance is breathtaking, even after so many years on screen.

Arnie Cunningham (Keith Gordon) – Christine (1983), dir. John Carpenter

He’s the quintessential teenage character in American horror—a new owner of a mysterious car that begins to alter his psyche. Withdrawn, introverted, and unlucky with girls, Arnie compensates for his insecurities with his connection to a demonic vehicle. The car’s sinister nature turns him into an aggressive, psychotic figure, determined to… well, that’s open to interpretation. Christine wants to survive as a car, and Arnie wants to be someone important—but drivers can always be replaced, a fact Arnie fails to grasp.

Leland Gaunt (Max von Sydow) – Needful Things (1993), dir. Fraser C. Heston

A memorable character not only due to King’s imagination but also Max von Sydow’s phenomenal performance. When Gaunt first arrives in Castle Rock, Maine, he opens a shop selling people their deepest desires. Gaunt initially seems charming, but it’s a façade. His eyes change color depending on who looks at him, his hands lack fingerprints, and his index fingers are as long as his middle ones. Gaunt has an unnerving awareness of Castle Rock’s relationships and secrets. Ultimately, he reveals himself to be…

Mort Rainey (Johnny Depp) – Secret Window (2004), dir. David Koepp

King’s twisted prescription for writers suffering from creative block, Mort Rainey is a recently divorced author struggling after discovering his wife’s affair. Isolated in the countryside, he tries to focus on writing but is plagued by mental instability and a mysterious visitor. The solution to his problems is within reach—not only for his personal life but also for his writer’s block. All he needs to do is make his fantasies a reality, murderous yet tantalizingly tangible.