Miriam is a centuries-old vampire who has existed as far back as her origins in ancient Egypt. Surviving on the blood of the numerous lovers she has had over the years, they in return do not age until she grows tired of them. Unfortunately for her latest one, John, that is the case for him with his life expectancy being very short. In desperation, he seeks the assistance of Dr. Sarah Robert. A research gerontologist, who is studying the effects of rapid aging in primates. She is at first dubious regarding John's story, but her curiosity leads her to contact Miriam and finds herself being bewitched by the immortal seductress, herself.
Based on the novel by Whitley Strieber which was first published in 1981, The Hunger was the debut full-length theatrical feature film for Tony Scott, brother of the now legendary Ridley Scott, who no doubt had a lot to live up to when compared to his older sibling who had gained critical plaudits for his work on Alien and Blade Runner. A contemporary arthouse reworking of the Vampire mythology, that acts as an allegorical meditation on the nature of addiction. Scott follows in the footsteps of his brother, revealing his own aptitude for an aesthetic flair that he shares with Ridley. Opening in a dimly lit nightclub to the strains of a moody 80s retro-punk track. Scott sets the right ultra-modern, bleak tone that will echo throughout.
Both Catherine Deneuve and David Bowie on a purely visual basis, make for a striking couple. Appearing sleek and stylish in what could be mistaken for sharp Armani apparel, and dark sunglasses. They pick up random strangers who are just as beautiful as they are, who they feast upon with a fusion of unsettling bloodletting and savage eroticism. You can definitely see Ridley's influence, with shades of Blade Runner seeping into the mix. Scott peppers scenes with fluttering pigeons, swirling smoke, billowing curtains, and elegant artifacts which lend an air of film-noir sensibility.
Posing as a wealthy couple that teaches classical music lessons in their elegant New York townhouse, which is a relatively mundane contrast to their more alien and disturbing nocturnal activities. John is seen to have a more relatively humane side to his personality when compared to Miriam. Particularly in his relationship with Alice, and it's this, that offsets how predatory and remorseless she is. Even, when John ultimately gives in to the hunger he has for youth, leading him to a moment of self-preservation, that is abhorrent and cold-blooded. There is still a palpable air of remorse that is subtly felt in him.
Make-up artist, Dick Smith's brilliant make-up, effectively captures Bowie's deterioration from a handsome, youthful playboy to a decrepit, silver-haired octogenarian seamlessly. It helps as well, that Bowie to his credit, pulls off a convincing transition, from his youthful visage into his elderly personae, which never feels ham-fisted.
First and foremost though, Bowie inhabits what is a supporting role, and whose screen presence is relatively shortlived with Susan Sarandon being the movie's chief protagonist. Gerontologist, Sarah Robert whom John turns to as a seemingly grim fate of an eternal living death awaits him. And it's Sarah's inquisitive scientific curiosity to learn more about John's affliction that has her inevitably crossing paths with the sultry Miriam, who with the loss of John so to speak, seeks a new lover, and a figurative protege in Sarah. Fearful of the loneliness that eternal life can envelop her, and fuels her drive to seek companionship as well as a partner in blood. The isolation and the regression into becoming an outcast from the rest of the world due to the life she has chosen is a major theme and is something that weighs heavy on Miriam. Catherine Deneuve brings a seductive allure to Miriam and is captivating as she is deeply sensual. While Susan Sarandon is suitably tenacious as the inquisitive Dr. Sarah Roberts and has a strong and understated sexual chemistry with her female co-star.
As an allegory on the nature of addiction, the sense of isolation, and to an extent how it leads to one becoming a societal pariah, and how addicts inevitably feed off others to maintain their fix, The Hunger for the First Three Quarters works rather well. Where it flounders is in the ending that the studio forces on Scott, which pretty much undermines the more moralistic original ending that was far more fitting within the context of its allegorical plot. What we're lumbered with is one that feels like one that came out of a Cadbury's Flake advertisement (and features a very brief appearance from British actress Sophie Ward at a very youthful age). Ending the movie on something of a bum note.
The Hunger overall though is a visually arresting and highly atmospheric, somber, and brooding work from Scott, who rightly or wrongly would go on to be somewhat overshadowed by his older brother. Although not without some degree of talent and a flair for a strong aesthetic eye, this was the movie that would first highlight his aptitude for it. Also look out for a brief appearance from a young pre-fame Willem Daefoe as a sleazy street punk, before he rose to greater prominence.
Based on the novel by Whitley Strieber which was first published in 1981, The Hunger was the debut full-length theatrical feature film for Tony Scott, brother of the now legendary Ridley Scott, who no doubt had a lot to live up to when compared to his older sibling who had gained critical plaudits for his work on Alien and Blade Runner. A contemporary arthouse reworking of the Vampire mythology, that acts as an allegorical meditation on the nature of addiction. Scott follows in the footsteps of his brother, revealing his own aptitude for an aesthetic flair that he shares with Ridley. Opening in a dimly lit nightclub to the strains of a moody 80s retro-punk track. Scott sets the right ultra-modern, bleak tone that will echo throughout.
Both Catherine Deneuve and David Bowie on a purely visual basis, make for a striking couple. Appearing sleek and stylish in what could be mistaken for sharp Armani apparel, and dark sunglasses. They pick up random strangers who are just as beautiful as they are, who they feast upon with a fusion of unsettling bloodletting and savage eroticism. You can definitely see Ridley's influence, with shades of Blade Runner seeping into the mix. Scott peppers scenes with fluttering pigeons, swirling smoke, billowing curtains, and elegant artifacts which lend an air of film-noir sensibility.
Posing as a wealthy couple that teaches classical music lessons in their elegant New York townhouse, which is a relatively mundane contrast to their more alien and disturbing nocturnal activities. John is seen to have a more relatively humane side to his personality when compared to Miriam. Particularly in his relationship with Alice, and it's this, that offsets how predatory and remorseless she is. Even, when John ultimately gives in to the hunger he has for youth, leading him to a moment of self-preservation, that is abhorrent and cold-blooded. There is still a palpable air of remorse that is subtly felt in him.
Make-up artist, Dick Smith's brilliant make-up, effectively captures Bowie's deterioration from a handsome, youthful playboy to a decrepit, silver-haired octogenarian seamlessly. It helps as well, that Bowie to his credit, pulls off a convincing transition, from his youthful visage into his elderly personae, which never feels ham-fisted.
First and foremost though, Bowie inhabits what is a supporting role, and whose screen presence is relatively shortlived with Susan Sarandon being the movie's chief protagonist. Gerontologist, Sarah Robert whom John turns to as a seemingly grim fate of an eternal living death awaits him. And it's Sarah's inquisitive scientific curiosity to learn more about John's affliction that has her inevitably crossing paths with the sultry Miriam, who with the loss of John so to speak, seeks a new lover, and a figurative protege in Sarah. Fearful of the loneliness that eternal life can envelop her, and fuels her drive to seek companionship as well as a partner in blood. The isolation and the regression into becoming an outcast from the rest of the world due to the life she has chosen is a major theme and is something that weighs heavy on Miriam. Catherine Deneuve brings a seductive allure to Miriam and is captivating as she is deeply sensual. While Susan Sarandon is suitably tenacious as the inquisitive Dr. Sarah Roberts and has a strong and understated sexual chemistry with her female co-star.
As an allegory on the nature of addiction, the sense of isolation, and to an extent how it leads to one becoming a societal pariah, and how addicts inevitably feed off others to maintain their fix, The Hunger for the First Three Quarters works rather well. Where it flounders is in the ending that the studio forces on Scott, which pretty much undermines the more moralistic original ending that was far more fitting within the context of its allegorical plot. What we're lumbered with is one that feels like one that came out of a Cadbury's Flake advertisement (and features a very brief appearance from British actress Sophie Ward at a very youthful age). Ending the movie on something of a bum note.
The Hunger overall though is a visually arresting and highly atmospheric, somber, and brooding work from Scott, who rightly or wrongly would go on to be somewhat overshadowed by his older brother. Although not without some degree of talent and a flair for a strong aesthetic eye, this was the movie that would first highlight his aptitude for it. Also look out for a brief appearance from a young pre-fame Willem Daefoe as a sleazy street punk, before he rose to greater prominence.