On THE HUNGER

Flashing back to the stylish and undervalued 1983 vampire drama

Tony Scott’s 1983 vampire drama THE HUNGER, his first film and an adaptation of author Whitley Strieber’s bestselling, same-named book, is a marvelous picture; stylish, beautiful, sensual, elegant and, at its core, almost overwhelmingly melancholy. It’s no surprise then, that this hazy, dream-like work of neo-Gothic art faired poorly at the box-office, seeing as the dawn of the decade concerned itself mainly with post-STAR WARS and RAIDERS OF THE LOST ARK spectacle and, in the annals of horror, gory, brainless body count pictures.

But THE HUNGER is something different. Something special.

In it, revered French actress Catherine Deneuve plays Miriam Blaylock, statuesque female vampire, a creature who we are lead to believe has endured centuries, forever gliding through time, never aging and living off human blood. But she doesn’t make this endless journey alone. Like Delphine Seyrig’s similarly graceful and parasitic Countess Bathory in Harry Kumel’s DAUGHTERS OF DARKNESS, Miriam must always have a companion, a lover of her choosing whom is afflicted with a version of the disease that she has, the disease that blesses one with life eternal and an unnatural, murderous thirst.

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