The Hunger

Dir. Tony Scott
Dr. Sarah Roberts (Susan Sarandon) becomes acquainted with the mysterious Miriam Blaylock (Catherine Deneuve), a centuries old immortal vampire. Over the years Miriam has had many human companions to ease her loneliness. Unlike her however, they eventually begin to age rapidly until they are withered, but still conscious, corpses. Unable to do away with her lovers, Miriam keeps them in coffins in her attic for all eternity. With her current partner John (David Bowie) rapidly withering away, Miriam now has her sights set on a new partner: Sarah Roberts.
The Hunger is a film seriously at risk of being crushed under the weight of its own ponderous pontificating, stylish aplomb and the extraordinary amount of dry ice it uses to achieve its beautiful look. Having said that, The Hunger is also a film that attempts to deconstruct the ‘vampire film’ and bring it out from under the shadow of more familiar cinematic depictions proffered by the likes of Hammer and filtering it through the dark, sexy and dangerous representations of vampires by the likes of Anne Rice. It would seem The Hunger was definitely a forerunner of the likes of Twilight, True Blood and any other currently popular depictions of vampires as sexualised, freakishly seductive and semi-tragic individuals. With a healthy dose of moody lighting, fluttering doves, Ridley Scott-aesthetics and pop-promo editing chucked in for good measure, this film is a visual feast.

The vampire condition is presented under purely scientific terms; it has often been suggested that The Hunger was a response to the burgeoning HIV/AIDS crisis of the 80s. A number of the characters in the film are scientists studying blood and its connections to mortality. The ‘condition’ is passed from one person to another in a bite and subsequent exchange of body fluids. Like David Cronenberg’s The Fly, The Hunger also serves as a chilling examination of the horror of getting older and coming to terms with one’s own mortality. This is highlighted in the plight of Bowie’s character John, Miriam’s lover who has begun to age uncontrollably courtesy of remarkable make-up effects.


A great deal of screen time is given over to watching the characters waft around various rooms as doves flitter about in slow motion and curtains billow seductively – also in slow motion – whilst David Bowie and Catherine Deneuve look moody, mysterious and cool; chain smoking in hazily lit rooms, listening to Bauhaus and wearing sunglasses in the dark. Practically every shot appears to hang heavy with symbolic significance – an aspect of the film that so often renders it overwrought and camp - as do some of the typically outrageous Eighties fashions on display. Big hair, PVC jackets and shoulder pads, oh my! Which is no bad thing, I’m sure you’ll agree.
As mentioned, The Hunger is incredibly self-indulgent and ponderous, but it is also incredibly entertaining and camp. Case in point – just before Sarandon is seduced by Deneuve, she slinks into a chair to watch the fascinating French woman play the piano and – oops – throws her drink around herself. Deneuve being the perfect host helps Sarandon remove her clothes to dry herself off, and before you know it, the two are locked in passionate, stylishly shot love-making, as curtains and sheets and various other billowy things billow around them.

An art-house vampire noir film with a distinct style and provocative message about mortality, loneliness and the (very human) need for love and companionship. Especially when you're an immortal vampire.
Here's that tres cool opening scene... Turn it up.
Comments
I think it might be available as an Instant Watch option on Netflix too. Gonna go add it to my queue now!
Good review!
I have quite a fondness for this film and all its wafting fabric and leather gloves. And I think you know how I feel about the opening... LOVE IT!
Eloquent as always.
I just happened to be flicking through the TV t'other night looking for something cool to watch, and there it was: THAT opening scene. *swoon* Hadn't seen The Hunger in ages, so naturally couldn't resist watching it.