When the deception of an ageless vampire temptress, Miriam (Catherine Deneuve), comes to light and her lover, John (David Bowie), a vampire himself realises he has been granted eternal life, but not eternal youth, he starts desperately searching for help. As he ages decades in the span of days, he encounters a young scientist researching ageing, Sarah (Susan Sarandon). The paths of the three main characters intertwine, as a dire struggle for power and survival unfolds.
Branded by some as an excuse for a story, justifying scenes of hollow sexuality, the film deserves a deeper look. Not only did it stand the test of time exceptionally well with the practical special effects handled by Dick Smith, who worked on other classics, such as The Godfather (1972), The Exorcist (1973), and, my personal favourite, Death Becomes Her (1992), but the story itself is as thought-provoking as ever. It forces us to confront the problem of addiction, by posing the question: would you want to live forever if it meant succumbing to addiction and becoming a murderous monster? After all, what are vampires if not glorified blood-junkies.
The chemistry of the main trio lends itself well to the themes of seduction woven throughout the picture. It is underlined beautifully by the mostly classical score: one of the first scenes where Miriam and Sarah meet is made unforgettable by Delibes’ Due des fleurs, bringing to mind the inescapable comparisons to Carmilla - the OG lesbian vampire story. Additionally, the opening scene, where Bauhaus’ Bela Lugosi’s Dead welcomes the audience, with the actual members of the band playing it on-screen, garnered the movie bonus points with the goth subculture.
So if you feel like giving a chance to a hot and bloody vampire drama, check out this, dare I say, agelessly stylish picture. Make sure to also show up next week for the final Halloween hidden gem. Happy haunting!
