For any serious cinephile, there are certain to be some movies that although
it might not be particularly well-made, they somehow manage to find a little
corner of your mind where they can take up permanent residence. Perhaps
particular scene makes an indelible impression or one or more of the primary
cast that are among your favorite performers, but it persists in your mind far
longer than you might think it should. During the times that I review schedule
is rather light, I have the habit of going back to my collection and revisiting
some movies that included in this category. The movie might interest him upon I
first watched my late wife in the Waverley theater in Greenwich Village, ‘The
Hunger.' At that time there was some buzz surrounding the film because of its
leading man, David Bowie. Several years previously this iconic musician began
shifting the focus of his career to films. After the very enigmatic freshman
effort of ‘The Man Who Fell to Earth,' most of the fantasy music was anxious to
see how this new aspect of his talent was developing. In addition his costar was
one of the most significant cinematic exports from France, Catherine Deneuve.
The cast also included an upcoming actress was a natural part of the growing
movement of midnight films, Susan Sarandon, we all knew from her role as Janet
in ‘The Rocky Horror Picture Show’. At this point in time Mr. Bowie has recently
passed away in Ms. Sarandon is one of the most eclectic actresses in television
and film as well as a dedicated activist. One of the most enjoyable things about
revisiting duds such as this flick is to re-examine the early works of some of
entertainments most significant performers. But the exceptional interest in
vampires permeating the media as an added degree of interest in returning to
this movie that been in the back of my mind over 34 years.
Miriam Blaylock (Catherine Deneuve) is a vampire, was endured through the
centuries remaining vital and beautiful. Unwilling to go for eternity alone, the
area takes a human lover turning them into one the undead. The latest companion
was John (David Bowie), who was turned in 18th century France. He is
a talented cellist who was seduced by Miriam’s beauty and the promise of eternal
life and youth. They currently reside in New York City where there is an ample
supply of sustenance. As the movie opens, Miriam and John are in a trendy
nightclub, or they encounter a young couple, adventurous and sexually fluid.
Before the evening could progress, the far couple has their throats slashed by a
blade hidden within an Ankh pendant, swiftly with a well practiced procedure,
and after sating their blood thirst, the bodies are taken to the basement,
disposed of in a furnace. This townhouse was well equipped with a lifestyle,
opulent furnishings, and a convenient means to clean up after dinner; your
natural pair can usually pose as a wealthy couple with John teaching classical
music to private students.
Over two centuries John and Miriam have enjoyed their eternal existence.
Without warning, they took a drastic turn for the worst. Miriam’s promise of
eternal life in youth was only half true. John began to age an accelerated rate,
the many years beginning to catch up with him. Exacerbated by insomnia robbing
John of even a few hours of relief is accelerated deterioration leads into an
inevitable conclusion. The centuries are feeding on human blood did sustain his
life but not his youthful vigor. At this rate, John will be truly dead in a very
short time. Hoping to find a solution to plight they contacted the
gerontologist, Dr. Sarah Roberts (Susan Sarandon). Along with her
partner/boyfriend, Tom Haver (Cliff De Young), their research has yielded
promising results of slowing the effects of aging in primates. John and Miriam
are hopeful that Dr. Roberts be able to reverse the accelerating degeneration of
the beautiful young doctor is of the belief that John was a senior man suffering
from some delusions. Unable to find any hope at the clinic John and Miriam
angrily leave.
Desperate to regain his youth John attacks one of his students, a young woman
named Alice Cavender (Beth Ehlers). She unexpectedly stopped by the townhouse to
inform John that you would not be able to make the next lesson. John voraciously
murders and feeds upon her to no avail. This invokes the ire of Miriam Redman
grooming Alice as our next companion once she became of age. Submitting to the
torment of his plight begs for Miriam to kill him, but unfortunately, eternal
life precludes that option although the deterioration will continue. Miriam
takes John to the attic, placing him in a reading coffin. The room filled with
similar containers each holding Miriam’s former companions, traps or eternity
existing without any hope. Become very complicated when the police come to the
door searching for the missing Alice.
The film represents a genre that had become quite popular during the 80s, the
erotic thriller. A side effect of the MPAA’s rating system is that more explicit
films were produced remaining marketable with an ‘R’ rating. This provided
access to lawmakers to include mature themes including nudity and violence that
previously would not be permitted in most theaters. Technically this rating
would limit the audience for teenagers have been gaining access to ‘R’ rated
films since the institution of the new system. Although relatively minor by
today’s standards 34 years ago the bloodshed and sexuality of the film,
particularly with well-known actors, generated a significant amount of interest.
This movie does hold a certain place in cinematic history as the freshman effort
for Tony Scott, brother of Ridley Scott. Although he never was able to match the
directorial height of his brother, Tony did exhibit a similar penchant set up
exceptionally attractive from a visual perspective. Although the screenplay
written by Ivan Davis and Michael Thomas was pedantic, unable to add a
significant novel spin to a perennially favorite theme, the only difference
between this and the plethora of similar movies that are gone before it was the
exotic overtones infused with a blood fetish.
So much of what is shocking in this film has now become sufficiently routine
as to migrate to movies and mainstream television successfully. The somewhat
explicit depiction of lesbian sex demonstrated the directors to eschew a
realistic depiction for the look of an erotic dream.
The weakest part of this movie is undoubtedly the script the story that is
unable to unfold sufficient consistency to engage the viewer fully. The one
saving grace, as it were, is the primary cast exhibits the unique son. Ms.
Deneuve for a career on a classic beauty as eternal as a Renaissance statue
ideally suited for a vampire enduring through the ages untouched by the ravages
of time. When juxtaposed beside the down to earth attractiveness Ms. Sarandon
they achieve a smoldering sensuality to a sex scene that lasts regardless of
changes in societal sensibilities. David Bowie is always had such a unique look
and persona that he draws people to him regardless of his current endeavor. Many
musicians have made an attempt to become actors, but few have done so with the
success and panache exhibited by Mr. Bowie. His androgynous look fits with the
aesthetic of this movie giving it an edge that otherwise would be unattainable.