It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time, and then the nineteenth-century literature. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as gimmicks Modern with a skill that we have rarely seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film by Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because between different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time and then the literature nineteenth century. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as modern devices with a skill rarely we have seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because the different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
From the sophisticated dandy 30s the figure of the vampire continues constellation in one way or another the American cinema and not always looking at that model, but more often by varying the tone. Sometimes these are small changes in recovery times instead of classical, as the series of Hammer films of the 60s for the history of cinema with the wonderful Christopher Lee in the role of the prince of darkness. But even in these cases it is still a progressively more brutal version of the myth or the figure. The times were not the same horror and brutality needed most.
The crosses from which they were elements of the vampire could not support the view that they become objects to touch his skin burns violently, the blood is increasingly represented and the attention glides slowly to the threat of fear to fear bloody. All things that we find in the Swedish film that rejects the violent dimension (except for a few acceleration typical of modern cinema) that the preferred modus operandi of the vampire story and the reactions of the population.
What happens is that in the years to follow, then passing through the famous ironic representations supervised by Andy Warhol and deviations from teen-comedy of the '80s, the film has vampires dawn of the '90s with the same shape of 60 years if serious (in principle set in the nineteenth century) and as more modern, if ironic. This leads to an interest always less than the public figure, because even as it is no longer able to intercept the modern fears, does not arouse fear and does not seem plausible.
To revive the figure that will serve two legends of cinema, dealing with the sacred monster Dracula adaptation of the original novel that made history and an astonishing variation on the theme.
In the early '90s, the vampire takes the stage with powerfully on either side to Bram Stoker's Dracula directed by Francis Ford Coppola, who portrays the classic vampire as a romantic figure now full, no more animal sex but tender love with the victim of a curse, not bad but good more ambiguous. The other by Abel Ferrara with The shows his addiction in New York today, a group of vampires living in modern schools and who have nothing of the original if not insane dependence on blood brutally consume no more biting but eating. For the director was a metaphor for drug addiction, but for the rest of the film becomes a guide to follow. These two films
create two separate strands that continue to influence the simultaneous production: a romantic, the other bloody.
Vampires thus returning to the cinema and have little to Neil Jordan Coppola confirms the trend with his Interview with the Vampire, where the bloodsuckers are romantic, full of feelings and obsessed with a curse that forces them to depend madly murder from which to try (at least one of two) to escape. Lasciviously still bite but they are full of problems, the disease is not sex but the murder, the bad figures become understandable and not oppose. But because of bad
you always need someone to take charge. So they have fewer problems with vampires that are all the rage, bloody ones that are infected each other more like the zombies as their illustrious predecessors, who have a psychology and hunt as animals do not like men. Are those of the Blade and From Dusk Till Dawn, strong and powerful beings who often do not even speak but they seem to react like animals in the presence of man. Even
film that recover the old days as Van Helsing Dracula no longer show in the traditional way, but you replace more and more monstrous figures who choose non-human forms or that monstrous face when you are about to eat and that do not have that look and magnetic charm of Bela Lugosi.
The arrival today at the cinema for a film like Let the Right along with another almost as twilight continues the trend. In the Twilight vampires are shown in two sizes: romantic, full of problems and plagued by a curse (the good) but also monstrous, unstoppable and animals (bad). While in the Swedish film
the issue is more subtle and complex: the violence is no longer the center and the child vampire (though not content to live killing) is fascinating as Bela Lugosi, binds other children and take them with them until they are too old and useless, has no sex but decoys. The vampire is back as the curse that goes from village to village, like the plague.
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as gimmicks Modern with a skill that we have rarely seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film by Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because between different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time and then the literature nineteenth century. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as modern devices with a skill rarely we have seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because the different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
From the sophisticated dandy 30s the figure of the vampire continues constellation in one way or another the American cinema and not always looking at that model, but more often by varying the tone. Sometimes these are small changes in recovery times instead of classical, as the series of Hammer films of the 60s for the history of cinema with the wonderful Christopher Lee in the role of the prince of darkness. But even in these cases it is still a progressively more brutal version of the myth or the figure. The times were not the same horror and brutality needed most.
The crosses from which they were elements of the vampire could not support the view that they become objects to touch his skin burns violently, the blood is increasingly represented and the attention glides slowly to the threat of fear to fear bloody. All things that we find in the Swedish film that rejects the violent dimension (except for a few acceleration typical of modern cinema) that the preferred modus operandi of the vampire story and the reactions of the population.
What happens is that in the years to follow, then passing through the famous ironic representations supervised by Andy Warhol and deviations from teen-comedy of the '80s, the film has vampires dawn of the '90s with the same shape of 60 years if serious (in principle set in the nineteenth century) and as more modern, if ironic. This leads to an interest always less than the public figure, because even as it is no longer able to intercept the modern fears, does not arouse fear and does not seem plausible.
To revive the figure that will serve two legends of cinema, dealing with the sacred monster Dracula adaptation of the original novel that made history and an astonishing variation on the theme.
In the early '90s, the vampire takes the stage with powerfully on either side to Bram Stoker's Dracula directed by Francis Ford Coppola, who portrays the classic vampire as a romantic figure now full, no more animal sex but tender love with the victim of a curse, not bad but good more ambiguous. The other by Abel Ferrara with The shows his addiction in New York today, a group of vampires living in modern schools and who have nothing of the original if not insane dependence on blood brutally consume no more biting but eating. For the director was a metaphor for drug addiction, but for the rest of the film becomes a guide to follow. These two films
create two separate strands that continue to influence the simultaneous production: a romantic, the other bloody.
Vampires thus returning to the cinema and have little to Neil Jordan Coppola confirms the trend with his Interview with the Vampire, where the bloodsuckers are romantic, full of feelings and obsessed with a curse that forces them to depend madly murder from which to try (at least one of two) to escape. Lasciviously still bite but they are full of problems, the disease is not sex but the murder, the bad figures become understandable and not oppose. But because of bad
you always need someone to take charge. So they have fewer problems with vampires that are all the rage, bloody ones that are infected each other more like the zombies as their illustrious predecessors, who have a psychology and hunt as animals do not like men. Are those of the Blade and From Dusk Till Dawn, strong and powerful beings who often do not even speak but they seem to react like animals in the presence of man. Even
film that recover the old days as Van Helsing Dracula no longer show in the traditional way, but you replace more and more monstrous figures who choose non-human forms or that monstrous face when you are about to eat and that do not have that look and magnetic charm of Bela Lugosi.
The arrival today at the cinema for a film like Let the Right along with another almost as twilight continues the trend. In the Twilight vampires are shown in two sizes: romantic, full of problems and plagued by a curse (the good) but also monstrous, unstoppable and animals (bad). While in the Swedish film
the issue is more subtle and complex: the violence is no longer the center and the child vampire (though not content to live killing) is fascinating as Bela Lugosi, binds other children and take them with them until they are too old and useless, has no sex but decoys. The vampire is back as the curse that goes from village to village, like the plague.
to MyMovies of 08/01/2009
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