The Hunger

Dream-like horror

Whitley Streiber's highly suspenseful and thematically rich novel is transformed into something entirely different by Tony Scott.

The film is a dream-like arthouse horror pic with diamond-studded production values.

Catherine Deneuve is very, very good as eternal blood drinker Miriam Blaylock. Although it has never been acknowledged (as far as I know), the look and behavior of her screen character is a "re-imagining" of Delphine Seyrig's peerless vampire Countess Bathory from Harry Kummel's 1971 classic DAUGHTERS OF DARKNESS.

David Bowie is superb as Deneve's not-so-immortal beloved and convinces us to emphasize with his condition (he is aging rapidly)

This was Tony Scott's first feature and it is a beautiful piece of work that is rich in texture and design and demonstrates adroit control of cinematic craft.

The sound design and rich catalog of music cues are pitch perfect.

Certainly bearing little resemblance to Streiber's novel (just as Michael Wadleigh's WOLFEN also moved away from same author's source), THE HUNGER is, nevertheless, gorgeous art.

Vastly underrated, but it's easily the best vampire film. Seems to be regarded as some kind of a trashy lesbian story, with a little bit of horror and gore thrown in for good measure; well, that's nonsense. These critics would have us believe that some silly Dracula film from the 30s is a masterpiece while this original approach to vampirism is a cheap, exploitative, erotic tale. The film is visually terrific, very atmospheric, has a good cast (Sarandon is excellent), and a superb soundtrack. Sarandon and Deneuve naked in bed is not exactly a deterrent, either. The last scene - a combination of visuals and music, is the absolute highlight of the film. If you'd like to read my parody/biography of Susan Sarandon (and other Hollywood intellectuals), contact me by e-mail.

A film with lots of style, beautifully shot, almost like a dream. This must be Tony Scott's best film to date, why do you ask? The director shows vision, not only in its visual medium but the editing, the music, the production design, the classical costumes and the chance to work with some talent.

David Bowie is very good, almost perfect for his part and Catherine steals the whole film. Susan Sarandon is also very good, the infamous Lesbian scenes are highly erotic and also very artistic.

This film isn't your usual Vamp movie, the film adds depth to these so-called Vampires.

The film probably required a bit more plot but nevertheless, this is all about style, this film looks fantastic.

Do not watch this in pan and scan, make sure you see it in widescreen because the director and cinematographer make full use of the panavision width.

The film talks about Catherine Deneuve ,she's a seductive vampire living along centuries with David Bowie.They need fresh blood for the eternal life .But Bowie is about to disintegrate and is substituted by a new lover,an enticing scientific-medic ,Susan Sarandon.

The picture is a bizarre bloodsuckers film and for somebody considered with a cult movie's status.It displays luxurious scenarios,arty photography although mostly developed on interior studios.The French actress Catherine Deneuve,as always, is cold and elegant.David Bowie as young and older vampire in an exciting transformation is well.Susan Sarandon as an obstinate scientist is good.Features known secondary actors, Dan Hedaya as a Police Inspector and Cliff DeYoung as Sarandon's lover. Besides future famous actors in small roles, almost extras, as Willem Dafoe,Anne Magnuson,John Pankow and English actors as Sophie Ward and Philip Sayer.The creepy sequences by stop motion referred to an aging monkey are made by Dave Allen.Splendid cinematography reflecting luxuriously sets and scenarios by Stephen Goldblatt.Stylish,elegant costumes by the expert Milena Canonero and wardrobe department and gowns of Catherine Deneuve by the famous French fashion designer Ives Saint-Laurent. The movie is classified by the MPAA with the rating R for blood,violence,gore and kinky nudism.The motion picture is well realized by Tony Scott though a little slow-moving and quite boring.He's nowadays much success and getting high box-office with hits like : ¨Crimson tide, Enemy of state,Spy game,Man of fire and Deja Vu¨ and founded along with his brother Ridley, ¨Scott-Free Production¨.

Before embarking onto this one, you must decide whether or not you enjoy films which look like a very extended (and quite expensive) MTV video clip of the early to mid 80's. If you don't, don't bother with this, it'll probably annoy you greatly. If you do, you're in for an indulgent visual ride and great entertainment, because every frame in Tony Scott's cult classic is carefully planned, beautifully orchestrated and wonderfully filmed - from the iconic opening sequence through to the heavily filtered last shot, it's polished until it gleams. Production design is given full reign and is faultless - the sets, lighting and costumes work fabulously with the soundtrack and the editing, creating a very recognisable style which is a genuine product of the trend aesthetics of the decade in question. And there's an added bonus of knowing use of music - this being the film that "relaunched" the Delibes' Lakme aria, paving the way for it becoming a monster classipop hit it is today. The film also employs Ravel at his most frozenly emotional,and, to stunning effect, Deneuve at arguably her most frozenly beautiful. One of those films remembered for perfectly encapsulating the visual style of its times.