Review: The Hunger (1983)

The Hunger (1983)

Director:  Tony Scott

Writers:  Whitley Strieber (novel), Ivan Davis (screenplay)

Stars:  Catherine Deneuve, David Bowie, Susan Sarandon

This movie had me at Catherine Deneuve and David Bowie play a pair of vampires.  It's also directed by the late, often great Tony Scott, who always knew how to make a good popcorn flick.  The Hunger is a surprisingly entertaining vampire movie, given it's probably the most un-vampire like vampire movie in existence.  It's as though it's in a state of genre denial, and for some may come off more an erotic thriller than horror film, but the final product delivers enough blood and gothic imagery to whet the appetite of any horror fan.

Deneuve plays Miriam Blaylock, a gorgeous ancient vampire who every 300 years or so must acquire a new immortal lover of her choosing.  At times it's gory and disturbing, especially the turning point in the film when Miriam’s current lover John, played by Bowie, takes the life of a young child, the child Miriam plans on having as her next partner in crime. It's an unsettling moment with significant repercussions, and this is when the plot really thickens, as Martian must scramble for a replacement.  The big finale, when the mummified corpses of Miriam’s past lovers rise from their caverns, is a genuinely frightening sequence, if not a bit too reminiscent of the Poltergeist finale a year earlier.  But this climactic moment is the most visually stunning of the film and really shows off the amazing special effects work, which look better in '83 than most stuff nowadays.  

The Hunger was not initially well received but has since found its audience and over the years developed somewhat of a cult following.  It's easy to see why, based on the credits alone: Deneuve and Bowie are icons in their own right, Sarandon offers an early and quite edgy (and rather nude) performance, and it’s Tony Scott’s first major work and one of his only horror films.  There is a classiness to The Hunger you don’t find in many other horror films and its unique atmosphere is unlike any vampire story I’ve ever seen.

- Peter DiGiovanni

Trailer:

The Enigmatic Vampire: George A. Romero's "Martin" (1977)

The Enigmatic Vampire: George A. Romero's "Martin" (1977)

In the realm of horror cinema, George A. Romero is an iconic figure known for revolutionizing the zombie genre with classics like "Night of the Living Dead." However, in 1977, Romero departed from the undead and introduced audiences to a different kind of monster in his film "Martin." This psychological vampire drama marked a departure from the director's zombie-centric repertoire, offering a nuanced exploration of isolation, identity, and the blurred lines between reality and fantasy.

"Martin" follows the story of its titular character, Martin Mathias (played by John Amplas), a young man who believes he is a vampire. The film opens with Martin traveling to live with his elderly cousin, Tateh Cuda, in the decaying industrial town of Braddock, Pennsylvania. Convinced he is a vampire, Martin sustains his supposed need for blood through the use of razor blades and syringes, rejecting the supernatural powers commonly associated with traditional vampire lore.

What sets "Martin" apart from traditional vampire tales is Romero's intentional subversion of established tropes. There are no capes, fangs, or supernatural powers here. Instead, Romero explores vampirism as a psychological condition, portraying Martin as a disturbed individual rather than a mythical creature. This departure from the norm challenges audiences to rethink their perceptions of vampires and confront the darkness within human psychology.

Romero's signature low-budget, independent filmmaking style is evident in "Martin." Shot on 16mm film, the movie captures the gritty realism of the declining industrial landscape in which it is set. The use of natural lighting and handheld camera work adds a documentary-like quality, immersing the audience in the harsh and unforgiving world of its protagonist.

At its core, "Martin" is a character study that delves into the mind of its troubled protagonist. John Amplas delivers a captivating performance, portraying Martin as a conflicted and sympathetic figure. As the audience witnesses his struggles with identity and a desire for connection, the film raises questions about the impact of societal isolation and the search for one's place in the world.

Romero also infuses "Martin" with social commentary, addressing issues such as urban decay, generational conflict, and the erosion of traditional values. The setting of Braddock serves as a metaphor for the crumbling foundations of society, mirroring the internal decay within Martin's troubled psyche.

While not as widely recognized as Romero's zombie films, "Martin" stands as a unique and thought-provoking entry in the horror genre. By subverting vampire tropes and exploring the psychological aspects of the protagonist's condition, Romero creates a film that goes beyond traditional horror conventions. "Martin" remains a testament to the director's versatility and willingness to challenge audience expectations, proving that horror can be a vehicle for introspection and social commentary.

Review: The Last Man on Earth (1964)

The Last Man on Earth (1964)

Directors: Ubaldo Ragona (as Ubaldo B. Ragona), Sidney Salkow (uncredited)

“Do you dare imagine what it would be like to be the last man on Earth... or the last woman? Alive among the lifeless... alone among the crawling creatures of evil that make the night hideous with their inhuman craving?!” That's what the poster for this film wanted to know. Do we dare?

Sure, why not?

Before Will Smith made it clear that he was Legend and Charlton Heston was the Omega Man, Vincent Price told us that he was The Last Man on Earth. And with good reason, too. In a world populated with vampires, who better to represent the human race than that silvery-voiced master of suspense and horror?

If you saw either of those later filmed versions of Richard Matheson's tale, you'll know what the score is:

Four years in the future, a plague wipes out society, except those infected don't stay dead for long. They return as creatures of the night, ready to feast on any remaining survivors – which will then infect those they attack and increase their numbers. The last survivor of mankind, Dr. Robert Morgan, spends his nights locked up in his home, sleeping in fear that he'll be discovered. By day he collects supplies vital to his survival, killing any weakened vampires he finds and searching for a cure to the plague.

Of course, since he's immune, he has somewhere to start regarding his research. That isn't the problem; the real issue is if he can survive against overwhelming odds and keep his sanity long enough to get the job done. He gets a dog as a companion, which goes tragically wrong, and then finds another survivor. Or is she? She's showing some of the symptoms of being a vampire but doesn't attack him.

As the mystery deepens for Doctor Morgan, he discovers that he isn't as alone as he first thought, but the alternative to being a vampire may not be all that he'd hoped. What remains of the human race and the dark side of survival is revealed. It's a gloomy future ahead...

There are some flaws with this film, one of the biggest being the vampires. They may be everywhere, but they don't seem that threatening. They're slow, sluggish and despite all the clichés (sharp teeth, problems with garlic and mirrors and being killed by a stake through the heart) they act more like zombies. Old movie zombies. Which means they just groan and wander around banging on doors in a futile manner, as opposed to chasing Brad Pitt at a breakneck speed.

It gets off to a slow start too, with a drawn-out backstory. Just when you think it's about to pick up it slows down again, before racing to a panic-stricken final act which needed just a little more explanation. Then there's the original idea of our hero becoming a legend of this post-apocalyptic world... but doesn't.

Those faults aside, it's still a good film. It may lack the high-budget gloss and depth of the later versions, but it's a fantastic early model of the survival horror genre that inspired others. The deck is stacked against Morgan right from the start, and it's easy to understand why he's become unraveled. The solitude is impossible to deal with, a cure seems hopeless, and even a simple trip to the shops or getting petrol for his car is a mission.

Vincent Price is in top form, giving a great performance and seemingly becoming more unhinged as it goes. The ending is as dark and disturbing as the beginning and shows a more realistic portrayal of the end of the world than many in this genre. There's something more psychologically disturbing about being slowly stalked than being over-run by racing hordes, and on that level this film delivers. A slightly quicker pace would have been good, but it works regardless.

Of course, it's a classic. But why? It may not be the best and it certainly isn't the oldest. Yet the impact and influence of it make it a film that can't be denied. It's one of those that set the standard, and while the bar may have been surpassed by others, it's still a benchmark that most struggle to achieve. 

- Rick Austin