A film with lots of style, beautifully shot, almost like a dream. I thought while watching how much this reminds me of BLADE RUNNER, in terms of neo noir, voice and tone... and then I have to find out RIDLEY is his actual brother. There you have it. Tony Scott shows vision, not only in its visual medium but the editing, the music, the production design, the classical costumes and the chance to work with some talent.
This is a strange film, as cold and dispassionate as one might imagine a vampire to be. It seems to hold the viewer at arms length, not allowing them to experience the emotions of the characters...but the characters, for the most part, are severely lacking in emotion anyway, so the stark emptiness of the film becomes a brilliant mirror. This film is about atmosphere and mood, eternally quiet boredom and ice-cold hearts that search for love.
The choice of soundtrack music is quite adept and urbane although only those very familiar with classical music will appreciate the tie-ins. Production design is given full reign and is faultless - the sets, lighting and costumes work fabulously with the soundtrack and the editing, creating a very recognizable style which is a genuine product of the trend aesthetics of the decade in question. And there's an added bonus of knowing use of music.
Deneuve is absolutely ravishing and used to great effect and lovingly photographed. David Bowie does an exceptional turn as her lover. What I admire most is the movie's ability to paint a feeling and mood of their existence outside time, eternally present yet eternally on the fringe, startlingly beautiful yet shrouded, veiled, amorphous and ultimately predatorial.
Finally, the thought that Deneuve's past lovers never die but are trapped eternally in a constantly decaying shell is intense.
This is a strange film, as cold and dispassionate as one might imagine a vampire to be. It seems to hold the viewer at arms length, not allowing them to experience the emotions of the characters...but the characters, for the most part, are severely lacking in emotion anyway, so the stark emptiness of the film becomes a brilliant mirror. This film is about atmosphere and mood, eternally quiet boredom and ice-cold hearts that search for love.
The choice of soundtrack music is quite adept and urbane although only those very familiar with classical music will appreciate the tie-ins. Production design is given full reign and is faultless - the sets, lighting and costumes work fabulously with the soundtrack and the editing, creating a very recognizable style which is a genuine product of the trend aesthetics of the decade in question. And there's an added bonus of knowing use of music.
Deneuve is absolutely ravishing and used to great effect and lovingly photographed. David Bowie does an exceptional turn as her lover. What I admire most is the movie's ability to paint a feeling and mood of their existence outside time, eternally present yet eternally on the fringe, startlingly beautiful yet shrouded, veiled, amorphous and ultimately predatorial.
Finally, the thought that Deneuve's past lovers never die but are trapped eternally in a constantly decaying shell is intense.