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An ageless vampire woman called Miriam and her human husband
John live a loving relationship caught between the old world
of classical music played in a period-decorated house and
the modern scene of neon night-clubs, drink, drugs and sex.
When John begins to age rapidly he feels he has been let down
by the woman's promises that they would be together forever.
He visits a research scientist investigating the ageing process,
but she fails to take him seriously. Already Miriam is looking
for a new lover, and finds one when the scientist woman arrives
at the house after realising her earlier mistake...
I'm
not a huge fan of David Bowie's music (the best being his
Ziggy Stardust days) but I never fail to be fascinated by
his film roles. I think it's probably because he chooses outlandish
films. This one isn't outstanding by any means, but it is
strangely compelling. It's not normally difficult to offer
an opinion on a film; however, The Hunger ranges from
slow (people sitting around while melancholy music is played)
to inventive and stylish.
The
opening of the film will possibly make most casual viewers
switch off in the first ten minutes. The then current 1980s
club with music so loud you can't make out what it is, silly
New Romantic clothes, make-up (especially on the men) and
big hair makes for an inauspicious start. With the worst over
with, we are then presented with a good use of light in the
house, long billowing curtains and doves in the room with
the coffins. Talking of which, there is a nice scene in which
Bowie's character is placed in a coffin aged but still alive,
and put next to the coffins containing her previous lovers
through the ages (hence they will be with her always). However,
when they turn on her in the end to conclude their own misery,
how can they all suddenly walk when most are rotting corpses
who have lain in coffins for generations?
The 18 certificate is undoubtedly for the explicit sex scenes
(examples of both heterosexual and lesbian couplings) than
the gore, of which there's very little. Based on a novel by
Whitley Strieber (who, you'll remember, made good publicity
from his Communion book and film by calling it a true
story), this is essentially a vampire story with a difference,
although you won't hear the V-word in the entire film.
The
Egyptian cross necklace with a knife inside is a nice idea.
As
well as a weapon it displays the history of the vampire woman
and flies in the face of the established fear of crosses.
Ty
Power
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