hunger

Criticized for its style over substance approach upon release, what most critics failed to predict about Tony Scott’s, The Hunger (1983), at the time was that it would worm its way like a virus into the very core of Hollywood filmmaking. Not only that, but truth be told, his music video aesthetic was a perfect match for the story of club-hopping, debutante vampires existing at the tippy-top of New York society. It may not be as well rounded or artistic as it pretends to be, but compared to other mainstream films from the era, The Hunger looks positively cutting edge.

Opening with an exhilaratingly edited seduction sequence intercut with a performance of Bela Lugosi is Dead from the Goth-group Bauhaus, Miriam and John Blaylock (Catherine Deneuve and David Bowie) feed on their latest victims after luring them to their palatial apartment. But the fresh blood does nothing to rejuvenate John, who, at 200 years old, is finally beginning to show his age. Like the rest of Miriam’s longtime companions – who she keeps in storage up in the attic – he is quickly deteriorating with only days left to live.

Desperate for a cure, they reach out to Dr. Sarah Roberts (Susan Sarandon) whose research on body clock mechanics shows promise at halting the aging process. But the answers come too late for John, who succumbs to his disease, leaving Miriam on the hunt for a suitable romantic replacement.

This leads to what was certainly the film’s biggest selling point: a high-profile lesbian love scene between to Deneuve and Sarandon, which, in pre-internet days, caused quite a bit of fuss. Shot with only snippets of nudity and a body double or two, it’s nevertheless still a classy erotic sequence that’s controversial only by virtue of the actresses involved. Yet it’s far from the highlight of the film, coming as it does in the midst of a muddled second act that only trends downward after the death of Bowie’s character.

The Hunger starts strong and falters. But only after a truly compelling series of events involving Bowie in progressive old age make-up (created by legendary effects man Dick Smith) as he faces a tragic reality his lover knew only too well was coming. Which brings us to the real criticism of Scott’s film, which is otherwise a brilliant debut: its poorly developed characters and a screenplay that simply runs out of steam.

While Miriam and Sarah’s relationship should be a focal point, the film spends too little time on the seduction, forcing Sarandon to play coy, smitten and indignant in the space of about 15 minutes. Deneuve is essentially a blank slate who fits the film’s elegant aspirations…but little else. Leaving the weight of the film on Bowie’s shoulders, which he carries admirably until the halfway mark. Despite these flaws, The Hunger remains a singularly hypnotic viewing experience, artfully arranging its exploitation elements for maximum effect.

The second Whitley Strieber horror story to get the Blu-ray treatment from Warner Archives (Wolfen was released just a month ago), Tony Scott’s film has been just screaming for a high-def upgrade; and the new transfer delivers in almost every respect. Even better, the edited commentary featuring Scott and Sarandon is carried over making this one a must-buy replacement for your old DVD.