Hypnotic textures, worth a serious look
Added 9/22/2009
A subtly, deeply enticing, luxurious, elegant, often bloody yet not excessively violent, infinitely intriguing, mildly shocking film. What a mouthful, but it is all that and more. I just saw it today and REALLY enjoyed it. David Bowie, despite his acting limitations, is reserved and ice cold, also very charismatic and compelling on film, and does great work here. Catherine Deneuve is casually phenomenal, so soulful, effortlessly projecting a somewhat forlorn, aristocratic sensuality. What a beautiful woman. Susan Sarandon is of course a perfectly attractive sparring partner in this extremely high arena of sensual projection. The interiors and textures of this film are interesting in so many ways. Tony Scott was an early and obvious great talent, and not surprisingly this is a fine complement to Ridley's Blade Runner, and/or Someone to Watch Over Me. I just love the elegant textures and moral quandaries of all these films. It should be noted that the actual kisses between Ms. Sarandon and Ms. Deneuve are rather chaste! I suppose they weren't overly keen on making out, perhaps, so it's not the flashpoint, at least not for me. I think you will absolutely sense incredible smoke and multiple fires in the atmospheres, soft conversations and mannerisms that precede any eventful embrace, though. Good heavens, it's sexy! That speaks greatly to the charismatic intelligence of both the actors and the director, I believe. The nature of the story is not thorougly satisfying--I saw no good reason for the relationship NOT to develop, but that's just wish projecting onto someone else's baby. I suppose I root for ALL vampires. They could use a bit more solidarity, couldn't they? Anyway, I highly recommend this for cinephiles and of course vampire completists, who I'm sure already know plenty about it. Extreme bonus points for seeing a very serious Dan Hedaya with hair (love that guy), and an opening sequence with Peter Murphy of Bauhaus, strangely gesticulating to 'Bela Lugois's Dead.' What a film!
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The Hunger, no just style over substance
Added 9/18/2009
If creating the feeling of death is vacous, then everything else must be vacuos as well. The style is the substance.
The death slowly picking away at these people.
The sense of isolation as time passes.
The desperate need to survive, even at the expense of youth.
The sexual ownership, to escape the nothingness.
This film is not the most profound ever, but it does have points to make and certainly is not vacous.
Try to view it like music, like Barber's Adagio for strings. it is the feeling, the atmosphere, the picture that is the substance.
this is what the modern film should be like, and I don't care what anyone says, Tony Scott you are a genius, even if you sold out (but considering that even now they still knock this film as insignificant, I don't blame you).
This is perhaps the most important modern film (anything I guess made after 1977), it's use of technique, as in image (the killing of dead space is as good as Von Sterneberg), it's use of montage (the start is a sublime sequence, one that Eisenstein would have loved), it's use of sound is startling (the synthesised score is perfectly melded to the image, and the repeated scream at the end I will never forget).
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The hunger in you is a hunger in me.
Added 7/12/2009
Beautiful, intelligent and seductive, Miriam and John Blaylock, outside looking in, appear to have it all. That is, until their bloodlust locks onto you, and from them, there is nothing but horror and death.
As the companion to the ageless Miriam, John is but a mere mimic, who soon finds out the truth of the blessing and curse that is Miriam's gift, and her false promises of eternal youth and eternity with her. As he begins to rapidly age, Miriam realizes the eventuality of his demise and begins to seek a new companion, in the form of a doctor specializing in aging disorders, and in essence, attempting to unlock the very thing that Miriam possesses: immortality.
Dr. Sarah Roberts is approached by John, who desperately seeks her aid in reversing the aging process but is quickly dismissed--until she sees him literally age before her eyes. But it's too late, John leaves, frustrated and terrified. When Sarah locates the Blaylocks in their Manhattan home, she is instead greeted by the sensuous Miriam, and ensnared. And in her newfound freedom and loneliness, it is Sarah who Miriam chooses.
The Hunger, based on Whitley Strieber's book (and will now be reading), is a goth-punk but intriguing take on the vampire lore, that could be very sentimental, but more sexual than romantic, and mostly unapologetic, focusing on the base and animalistic ritual of prey and predator. The familiar facets of vampirism, and some which are missing (such as sleeping during the day and aversion to sunlight, etc), are all there but with a grittier and more sinister pall, and a jaw-dropping sexual encounter between the captivated Sarah and the gorgeous Miriam.
Tony Scott's debut film makes for an atmospheric and luscious dark delight, with a very moody, stylish and artsy flare, but with well done horror. To set the mood, is a stunningly rich and wonderful score, with punk-rock to start off with, but with mostly symphonic music throughout, that is both melancholy and haunting, intoxicating and sublime. It's the kind of score that really makes this film doubly unique and also a must buy.
That said, while I always enjoy watching this film, in its entirety, it is a confusing, choppily put together and jumbled telling. Pacing is not very smooth, and the transition between scenes at times harsh, going from quiet to loud, bright to dark, abstract imagery, or moves too quickly and you're not quite sure what you just saw. Clearly, the scenes were put together more for effect, over telling a compelling story. While the idea of love, loneliness, aging and immortality is the underlying theme of the story, Scott does little to actually question the existence of Miriam, her callousness and love for her human companions and damning them to a horrible end, or why she seeks Sarah as her next victim, besides letting the audience assume the obvious. Scott uses the backdrop of the vampire myth as his story and to explain the nature of these characters, which I found that somewhat lazy and careless of Scott. Rather than incorporating a stronger story line besides Miriam's hunt for a new companion, it merely displays and idolizes the eroticism and allure of the vampire--which is why I'm going to read the book. Then again, it is obvious early on that this is purely a sensory film.
The extras are a must. Stills from the production, cast pictures and behind the scenes, while not necessarily brilliant, are fun. What you should really go for is the audio commentary by Tony Scott and Susan Sarandon, which was actually insightful, both are articulate and interesting commentators.
Catherine Deneuve as Miriam is the perfect seductress, infusing a timeless worldly beauty and eloquence to a character that really deserves nothing but due justice. Surprisingly, David Bowie's role as John was both subtle, chilling, and unexpected. Both are believable as modern day vampires and effortless as mainstream vampires in the new age. What surprised me was Susan Sarandon. While she did an excellent job, pitted against two Europeans, the American in her at times clashed. While she is at times brash and ineloquent, both John and Miriam are always so cooly aloof but passionate. Or maybe that was the point. It was hard to imagine that someone like Miriam, who is that otherwordly and could have anyone she wanted, would pick such a stubborn and independent intellectual, while her choice of John is totally believable. Despite that, and the problems with this adaptation, I always find myself picking it out every once in a while, during an evening when I need some vampire horror and blood, but with a twist. This cult classic from the 1980s is one that every vampire and horror lover should watch.
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The Hunger
Added 6/26/2009
I received this item very quickly - with no problems. I have discovered from the person I gave it to - that it was a different version than what was seen on TV - but the opposite of what you would think - on TV more was included than on this dvd - which really surprised me. If there are different versions out there, I was not aware, since I was searching for this movie to give to someone who really liked it. But this person was still very surprised and liked the gift.
0 out of 1 people found this helpful.
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Best seducion scene ever!
Added 3/17/2009
The scene where Miriam seduces Sarah while playing Lakme on the piano is the BEST seduction scene in film history! Miriam's subtle facial expressions, cleavage, and soft voice are delightfully erotic. Catherine Deneuve is genius, erotic, and gorgeous in this scene. Sarandon played her part perfectly as well, innocent yet willing as the seduction began to draw her in.
0 out of 0 people found this helpful.
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Hypnotic textures, worth a serious look
Added 9/22/2009
A subtly, deeply enticing, luxurious, elegant, often bloody yet not excessively violent, infinitely intriguing, mildly shocking film. What a mouthful, but it is all that and more. I just saw it today and REALLY enjoyed it. David Bowie, despite his acting limitations, is reserved and ice cold, also very charismatic and compelling on film, and does great work here. Catherine Deneuve is casually phenomenal, so soulful, effortlessly projecting a somewhat forlorn, aristocratic sensuality. What a beautiful woman. Susan Sarandon is of course a perfectly attractive sparring partner in this extremely high arena of sensual projection. The interiors and textures of this film are interesting in so many ways. Tony Scott was an early and obvious great talent, and not surprisingly this is a fine complement to Ridley's Blade Runner, and/or Someone to Watch Over Me. I just love the elegant textures and moral quandaries of all these films. It should be noted that the actual kisses between Ms. Sarandon and Ms. Deneuve are rather chaste! I suppose they weren't overly keen on making out, perhaps, so it's not the flashpoint, at least not for me. I think you will absolutely sense incredible smoke and multiple fires in the atmospheres, soft conversations and mannerisms that precede any eventful embrace, though. Good heavens, it's sexy! That speaks greatly to the charismatic intelligence of both the actors and the director, I believe. The nature of the story is not thorougly satisfying--I saw no good reason for the relationship NOT to develop, but that's just wish projecting onto someone else's baby. I suppose I root for ALL vampires. They could use a bit more solidarity, couldn't they? Anyway, I highly recommend this for cinephiles and of course vampire completists, who I'm sure already know plenty about it. Extreme bonus points for seeing a very serious Dan Hedaya with hair (love that guy), and an opening sequence with Peter Murphy of Bauhaus, strangely gesticulating to 'Bela Lugois's Dead.' What a film!
0 out of 0 people found this helpful.
|
The Hunger, no just style over substance
Added 9/18/2009
If creating the feeling of death is vacous, then everything else must be vacuos as well. The style is the substance.
The death slowly picking away at these people.
The sense of isolation as time passes.
The desperate need to survive, even at the expense of youth.
The sexual ownership, to escape the nothingness.
This film is not the most profound ever, but it does have points to make and certainly is not vacous.
Try to view it like music, like Barber's Adagio for strings. it is the feeling, the atmosphere, the picture that is the substance.
this is what the modern film should be like, and I don't care what anyone says, Tony Scott you are a genius, even if you sold out (but considering that even now they still knock this film as insignificant, I don't blame you).
This is perhaps the most important modern film (anything I guess made after 1977), it's use of technique, as in image (the killing of dead space is as good as Von Sterneberg), it's use of montage (the start is a sublime sequence, one that Eisenstein would have loved), it's use of sound is startling (the synthesised score is perfectly melded to the image, and the repeated scream at the end I will never forget).
0 out of 0 people found this helpful.
|
The hunger in you is a hunger in me.
Added 7/12/2009
Beautiful, intelligent and seductive, Miriam and John Blaylock, outside looking in, appear to have it all. That is, until their bloodlust locks onto you, and from them, there is nothing but horror and death.
As the companion to the ageless Miriam, John is but a mere mimic, who soon finds out the truth of the blessing and curse that is Miriam's gift, and her false promises of eternal youth and eternity with her. As he begins to rapidly age, Miriam realizes the eventuality of his demise and begins to seek a new companion, in the form of a doctor specializing in aging disorders, and in essence, attempting to unlock the very thing that Miriam possesses: immortality.
Dr. Sarah Roberts is approached by John, who desperately seeks her aid in reversing the aging process but is quickly dismissed--until she sees him literally age before her eyes. But it's too late, John leaves, frustrated and terrified. When Sarah locates the Blaylocks in their Manhattan home, she is instead greeted by the sensuous Miriam, and ensnared. And in her newfound freedom and loneliness, it is Sarah who Miriam chooses.
The Hunger, based on Whitley Strieber's book (and will now be reading), is a goth-punk but intriguing take on the vampire lore, that could be very sentimental, but more sexual than romantic, and mostly unapologetic, focusing on the base and animalistic ritual of prey and predator. The familiar facets of vampirism, and some which are missing (such as sleeping during the day and aversion to sunlight, etc), are all there but with a grittier and more sinister pall, and a jaw-dropping sexual encounter between the captivated Sarah and the gorgeous Miriam.
Tony Scott's debut film makes for an atmospheric and luscious dark delight, with a very moody, stylish and artsy flare, but with well done horror. To set the mood, is a stunningly rich and wonderful score, with punk-rock to start off with, but with mostly symphonic music throughout, that is both melancholy and haunting, intoxicating and sublime. It's the kind of score that really makes this film doubly unique and also a must buy.
That said, while I always enjoy watching this film, in its entirety, it is a confusing, choppily put together and jumbled telling. Pacing is not very smooth, and the transition between scenes at times harsh, going from quiet to loud, bright to dark, abstract imagery, or moves too quickly and you're not quite sure what you just saw. Clearly, the scenes were put together more for effect, over telling a compelling story. While the idea of love, loneliness, aging and immortality is the underlying theme of the story, Scott does little to actually question the existence of Miriam, her callousness and love for her human companions and damning them to a horrible end, or why she seeks Sarah as her next victim, besides letting the audience assume the obvious. Scott uses the backdrop of the vampire myth as his story and to explain the nature of these characters, which I found that somewhat lazy and careless of Scott. Rather than incorporating a stronger story line besides Miriam's hunt for a new companion, it merely displays and idolizes the eroticism and allure of the vampire--which is why I'm going to read the book. Then again, it is obvious early on that this is purely a sensory film.
The extras are a must. Stills from the production, cast pictures and behind the scenes, while not necessarily brilliant, are fun. What you should really go for is the audio commentary by Tony Scott and Susan Sarandon, which was actually insightful, both are articulate and interesting commentators.
Catherine Deneuve as Miriam is the perfect seductress, infusing a timeless worldly beauty and eloquence to a character that really deserves nothing but due justice. Surprisingly, David Bowie's role as John was both subtle, chilling, and unexpected. Both are believable as modern day vampires and effortless as mainstream vampires in the new age. What surprised me was Susan Sarandon. While she did an excellent job, pitted against two Europeans, the American in her at times clashed. While she is at times brash and ineloquent, both John and Miriam are always so cooly aloof but passionate. Or maybe that was the point. It was hard to imagine that someone like Miriam, who is that otherwordly and could have anyone she wanted, would pick such a stubborn and independent intellectual, while her choice of John is totally believable. Despite that, and the problems with this adaptation, I always find myself picking it out every once in a while, during an evening when I need some vampire horror and blood, but with a twist. This cult classic from the 1980s is one that every vampire and horror lover should watch.
0 out of 0 people found this helpful.
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