The Hunger

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*Strong Language* *Sexual Situations* *Not Particularly Gory*</B></div> <bR> <div> <B>1982/Color/100 Min./MGM/UA Home Video & Metro Goldwynn Mayer Entertainment Co./Rated R</B></div> <bR> <div> <B>Director.........Tony Scott (</B><I><B>Beverly Hills Cop II, Days of Thunder, Top Gun</B></I><B>)</B></div> <div> <B>Screenplay.......Ivan Davis & Michael Thomas</B></div> <div> <B>Music............Michel Rubin & Denny Jaeger </B></div> <div> <B>Producer.........Richard A. Shepherd  </B></div> <div> <B>Make-up Illusions by Dick Smith & Carl Fullerton</B></div> <div> <B>Based on a Novel by Whitley Strieber</B></div> <div> <B></B></div> <div> <B><U>Dramatis Personae</U></B></div> <div> <B>Miriam....................Catherine Deneuve (</B><I><B>Indochine, Love Songs, Repulsion</B></I><B>)</B></div> <div> <B>Sarah Roberts.........Susan Sarandon (</B><I><B>Bull Durham, Thelma and Louise</B></I><B>)</B></div> <div> <B>John........................David Bowie (</B><I><B>Just a Gigolo, The Linguini Incident</B></I><B>)  </B></div> <div> <B>Tom Haden..............Cliff De Young (</B><I><B>Dr. Giggles, Immortal Sins, Pulse</B></I><B>)</B></div> <div> <B>Alice Cavendon.......Beth Ehlers</B></div> <div> <B>Lt.............................Dan Hedra (</B><I><B>Cheers-TV</B></I><B>)</B></div> <div> <B>Charlie Humphries...Rufus Collins</B></div> <div> <B>Phillis......................Suzanne Bertisch (</B><I><B>Venice/Venice</B></I><B>)</B></div> <div> <B>Ron..........................James Aubrey (</B><I><B>Forever Young, Lord of the Flies</B></I><B>)</B></div> <bR> <div> <B><U>Critique</U></B><B>: </B><B>This is an incoherent movie. What did Bowie get out of murdering the violin player? Why was Bowie's character in this at all? Maybe it's just a matter of being European. </B><B>One often hears from gutless pseudo-intellectuals that this is a horror movie they enjoy, which should be warning enough. After this ge</B><B>m, however, director Tony Scott decided to pick up the pace a bit, dumped his pseudos and made action movies with Eddie Murphy and Tom Cruise.  Evidently, on some confused level, this movie sought singularly to problematize the moral vicissitudes of vampirism, though most every other vampire movie manages to show the pathos of the vampire without particularly trying to. This one failed at the only thing it tried to do. It problematized nothing. What it succeeded at is hoodwinking a sizable group of movie-goers in trying to convince each other that they had had a worthwhile cinematic experience. There is a good job done on the "make up illusions" as this sad project managed to suck make-up master Dick Smith in as a co-conspirator. There are severe pace problems. The music is delightful, all it needs is a movie. It is truly difficult to keep up with the plod, uh, plot. Madonna should have been in this.</B></div> <bR> <div> <B><U>Plot Summary</U></B><B>: This movie is evidently about a five hundred year old vampire who needs the blood of her victims to remain forever young. Drawing them as lovers, she would feast on their blood, causing them to age unnaturally quickly. Perhaps she would keep the dessecated corpses up in her attic in boxes. Doctors would be baffled by this rare aging syndrome. A doctor at the clinic would go to the house of one of her patients who she had seen age years in her waiting room and there find the vampire in her lair. There, she would be seduced, not as another victim, but to be the vampire's eternal companion. She would mingle their blood so that the doctor too would have the chance to be forever young by preying on the youth of others, tying their fates together inextricably. This would have presented her with a classic vampire's dilemma. The prospective partner's suicide would break the vampire's link to eternity, causing her victims to rise up and demand their love and their youth that she has stolen from them. What the film instead chose to do was to bludgeon us with artsy-schmartsiness and Bach Cello Suites. We open with a bunch of assholes acting like assholes. Then some confusing new wave people vogue for the camera. Vogue voguing. Just wait. That was only the beginning. forever and ever. Children suffering from pregoria have an average life expectancy of 16. Cut to people sitting around in the dark playing chamber music. Doctor Roberts talks with a colleague about accelerated aging of tissue. Bowie shows up suddenly getting old. Then he runs off and asks, `Who's next? Alice?"  Miriam apparently needs a victim. Bowie visits doctor Roberts, Susan Sarandon, who is doing Rhesus monkey research on aging. Bowie's read Sarandon's book on the disease. She isn't helping. Monkeys are aging at app. 5 years per minute. She's seeking the key to life and death. Poor David Bowie ages 30 years in her office, confronts her and walks away. A violin student friend of Bowie and Deneuve plays something for Bowie, thinking Bowie to be the father of the person who was to meet her here. Forgive me! Bowie says, and the girl is dead by his sharp pendant. Forever young! But not for Bowie. He shuffles about asking Deneuve to think of him as he was. Kill me release me! Bowie falls down the stairs. Hours of Bowie decomposing. The Sarandon brings a man home. But a leather Dominatrix appears inexplicably in her mirror. Sarandon tracks down Deneuve and pesters her about the status of her husband. She is invited in to view the antique display of her family (500 years old who gives a fuck?). Deneuve wears an Egyptian pendant and tells the boring story describing the music she's playing. Obviously, Dr. Roberts has gotten something out of all this that we as viewers haven't, because she then says, "Are you making a pass at me Miriam?' Maybe it's those vampire pheromones that brought her there in the first place. Soon we have the Sarandon-Deneuve love scene where Deneuve bites Sarandon, causing their blood to co-mingle. Sarandon is soon ordering her steak rare and wearing the Egyptian One. Sarandon's American co-worker is very threatened by her newfound threatening relationship with the sexually-threatening-to-Americans-Deneuve. Sarandon's starting to watch women bathers. The threatened American decides from this that Sarandon needs a doctor. Sarandon is ravenous but can't eat. Her blood has non-human blood mixed in and the human blood is losing the fight for dominance. The doctors notice a threatening bitemark on Sarandon's arm. Something clicks now for Sarandon and she goes to Deneuve. Her response to the accusation is "I've given you something you'd never dare dream of, everlasting life'. She is told that the hunger will become so intense that she will return for advice. She does, and Deneuve brings her someone that can satisfy her own hunger, and thereby show Sarandon the ropes. A bon vivant is lured into Deneuve's place, his throat slit, and Deneuve feasts, showing the nearly comatose Sarandon what she must do. The threatened American co-worker arrives, finding the wretching Sarandon. Sarandon is apparently meant to to kill him.</B></div> </td> </tr></table></body>