Erotic horror anthology series where the hosts Terence Stamp (in season 1) and David Bowie (in season 2) eccentrically introduce each of the steamy, erotic and often supernatural tales of power, sex, lust, and driving urges.
The film concerns an elderly couple played by Rosamund Greenwood and Roy Evans, who we later discover to be brother and sister, who accidentally run over and kill a young cyclist played by ... See full summary »
The Egyptian vampire lady Miriam subsists upon the blood of her lovers. In return the guys or girls don't age until Miriam has had enough of them. Unfortunately that's currently the case with John, so his life expectancy is less than 24 hours. Desperately he seeks help from, the famous, Dr. Sarah Roberts. She doesn't really believe his story, but becomes curious and contacts Miriam . . . and gets caught in her spell, too.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Ironically, in the credits Willem Dafoe is identified as "2nd Phone Booth Youth"; whereas, he is the first "Phone Booth Youth" to be seen and speak in the Phone Booth scene. Likewise, John Pankow is noted in the credits as "1st Phone Booth Youth"; whereas, he is actually the second "Phone Booth Youth" to be seen and say his lines. See more »
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.
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