Vampires. They have been the subject of numerous films throughout the decades. They have appeared, according to ranker.com, in over 197 films. To begin to entertain the idea of producing a new edition that will resonate with audiences surely must be a daunting task. To be able to offer something new that isn’t formulaic nor a simple rehash takes talent beyond measure.
I’ve stated before, (and based on the number of films, television programs, novels, and video games that continuously get released, it’s apparent I’m not alone), that I enjoy these celluloid exhibitions featuring the notorious creatures of the night. I recently heard about today’s film whilst reading an issue of Empire magazine. They stated that the film was a four star affair. I instantly knew that I had to view this film. I originally had a sequel to a rather storied franchise queued up and ready to go, bucket of freshly made stove-top popcorn at the ready, wife and children tucked away snuggly in their beds. Instead, I did a switcheroo and opted instead for this nocturnal tale.
31 Days of Frights and Films – Day 8: Byzantium
A pair of mysterious women descend upon a small unsuspecting town, hiding from a mysterious organization that is attempting to locate them. Unfortunately for the inhabitants of the town, they bring death with them, leaving a trail of bodies in their wake.
Not since Ludwig Von Drake recorded The Spectrum Song has there been an occasion where I was instantly immersed in a world of vivid color. The use of hues by cinematographer Sean Bobbitt was amazing, and made me all the more grateful I chose to view this on a 52″ HDTV as opposed to an iPad on my train ride into work. I was instantly taken in by the mesmerizing score that opens the film. Whereas other films I’ve written about feature over-the-top musical scores that overpower the senses, Jordan opts for a more subtle, yet beautifully melancholic soundtrack, only elevated by the haunting cinematography that unfolds from the start. The film continues to play slowly, thanks to the superb editing from Tony Lawson (Michael Collins, End of the Affair, Straw Dogs), allowing each scene to breath, even during the few gruesome images that are peppered throughout. During an upsetting decapitation, instead of cutting to the beats of the latest techno mix, we are allowed to take in the atmosphere of the locale, which only serves to up the emotional impact.
I thoroughly appreciated Jordan’s ability to effectively utilize imagery in a way that most viewers will remember elements and/or scenes to the film that never actually appeared. A film about a stripper who is also a prostitute, the men she has slept with, numerous occasions of unlawful entry, and we never are witness to any of the acts nor images of humans in their “au natural” state. Pure genius. Proof positive that the imagination is much more powerful of a tool than any canvas can ever paint.
Saoirse Ronan shines in her role as the tortured soul to Gemma Arterton’s femme fatale. Her eyes are stunningly mesmerizing, and hold the viewer every single time she looks into the lens, harking back to the famous Steve McCurry photograph that graced a National Geographic cover. The rest of the cast, who are equally as impressive in their own right, also bring life to their characters in a way that never hints at mediocrity. Jordan truly displays his gift of finding such a stellar cast.