Welcome to Framed, a column at Cinematical that runs every Thursday and celebrates the artistry of cinema -- one frame at a time.
Tony Scott had established his career as a commercial director before making his feature film debut with 1983's 'The Hunger.' The opulent and undoubtedly '80s-styled tale about a 2,000-year-old vampire trying to save her rapidly aging lover was critically panned across the board for being a bombastic effort, " ... circling around an exquisitely effective sex scene." Sunglasses at night, billowing curtains, fog machines and neon-dream lighting populate throughout -- paired with fast cuts and mysterious flashbacks. Though the 'The Hunger's' theatrical success wasn't in the cards, the movie found new life on video and stands true as one of the most stylish and effective modern vampire stories to ever hit the big screen.
The film opens with a nightclub performance by the gorgeously gaunt Peter Murphy and his then band, Bauhaus. We're introduced to Miriam and John Blaylock (Catherine Deneuve and David Bowie) -- vampires hunting in the shadows amongst writhing, gothic bodies. Their victims are seduced and slaughtered at home in the Blaylock's posh townhouse, which feels like an otherworldly palace that time forgot. But time hasn't been kind to John ... As much as the couple's hedonistic blood feast serves a nefarious purpose, John is racing against the clock -- aging at an astronomical rate. He seeks the help of Dr. Sarah Roberts (Susan Sarandon) who specializes in aging disorders, and while John deteriorates Miriam sets her sights on the doctor in hopes she'll take John's place.