Monday, September 27, 2021

#2,622. The Hunger (1983)


Tony Scott’s incredibly stylish vampire film, The Hunger is positively gorgeous, and while some might argue that the story doesn’t quite measure up to the visuals, I feel that the two complement each other nicely. 

Miriam (Catherine Deneuve) is a centuries-old vampire whose lovers (also vampires) never seem to live as long as she’d like. Such is the case with John (David Bowie), her current companion. Though she promised, many years ago, that he’d never grow old, John is suddenly aging at a rapid pace. 

 Hoping to slow down the process, he seeks out scientist Sarah Roberts (Susan Sarandon), whose research centers on a possible “cure” for growing old. Little does Sarah know how her meeting with John - and a later encounter with Miriam - will change her life forever. 

The cast assembled for The Hunger is extraordinary; Deneuve and Sarandon have some steamy scenes together, and Bowie, under tons of make-up, delivers what is arguably his best screen performance as the desperate John, clinging to a life that’s quickly slipping away (Also impressive is young Beth Ehlers, who plays Alice, Miriam’s and John’s neighbor and only friend). All of the actors do their part to bring us into this dark yet beautiful world of music, murder, and life everlasting. 

In addition, Scott’s approach to the material, combining bloody horror with an arthouse sensibility, might be off-putting to some (critics were not kind to the movie back in 1983), but I loved it! Very seldom have I seen light used so effectively in a horror film, let alone one about vampires (who, by tradition, usually dwell in the darkness). 

Sporadically creepy and dependably hypnotic, The Hunger deserves a second look, and a new appreciation. 
Rating: 9 out of 10 

1 comment:

thevoid99 said...

I first saw the film in high school at a time when I was just trying to figure myself out as I was hanging out with a lot of the outcasts including a few Goths. This was a film that showed me why Bowie was so cool and it still holds up as does the appearance in the film's opening scene by Bauhaus.