The Hunger (1983)
David Bowie’s death has rocked us deeply. As the tributes pour out, we fondly look back over his work and remember an icon who sprinkled our lives with the glittering stardust. The singer, songwriter, fashion style, and actor has transcended this mortal coil and now dances with the universe as we mourn his passing. The creator of such poetically futuristic songs such as Life on Mars and Space Oddity, David Bowie became so much more than a singer (not that being a singer is a bad thing) and became a queer icon and actor who enthused our art with daring difference.
To celebrate the work of David Bowie, I’m looking at 1983 cult classic - The Hunger.
The Hunger revolves around a centuries old vampire named Miriam who has walked this earth collecting lovers. Her recent partner John is rapidly growing old and needs to conserve himself before he deteriorates. However, Miriam is drawn to a doctor who specialises in sleep and ageing research. This sparks a love triangle between the three, but who will survive this vicious outcome?
Tony Scott’s artistic direction is to be celebrated as well as the exquisite Catherine Deneuve as the divine Miriam. Violently gothic and superbly lit with shadows illuminating the wall, this is a powerfully gorgeous film that takes on a brand new vampire identity and breathing originality into the genre.
The three players at the core of this triumphant art work powerfully together. Deneuve is a triumphant lead who handles the poignancy of immortality and lost love with the danger of her seductive beast. David Bowie is refined as John and is able to handle the aged elements entirely well - actually becoming quite terrifying in the desperation whilst Susan Surandon works marvellously as Dr. Sarah Roberts whose innocence is eclipsed by these monsters. The trio weave a wonderful tale, each with different plights and emotional arcs.
Lesbians and vampires have been a crux of horror since exploitative films tackled the sexuality of those feigned fanged fiends. From the tale of Carmilla to the utterly trashy Lesbian Vampire Hunters, the seductive elements have been embodied by females more gloriously than their male counterparts. In this instance, Tony Scott’s electric script hones the classic vampire frolics of yesteryears whilst ladling the film with the neon style of the eighties.
Perhaps way ahead of its time in terms of cinematography and sexuality, The Hunger has developed a loving yet small cult following. Yearning for a bigger exploration of the film, Scott’s work is the height of eighties art that lives beautifully in the shadows long because The Countess romped the halls of American Horror Story (though one can completely see the inspiration behind Lady Gaga Golden Globe winning character. Or pure theft… You decide.)
With the loss of David Bowie and Tony Scott, perhaps it seems more vital to see The Hunger in its Gothic glory and allow it’s sublie imagery to delicate dance down your skin, seducing you into its embrace, and leaving you breathless. The Hunger is an exquisite film to bite into.