I have never been more torn as to whether a movie is good or bad. Editing was wrong, direction was over-stylized (trying to mimic Blade Runner), story was mediocre, characters were superficially developed. But the cinematography was good (because it tried to mimic Blade Runner) and the cast was great. Especially Catherine Deneuve, one of the most beautiful people ever born.
I had always assumed this was going to be erotic trash but it turned out to be full of grace and haunting elegance. A really beautiful mix of mystery and horror, it has aged quite elegantly. Full of fits of late night longing and the shake of fog after waking from a nightmare.
A visually arresting and emotionally haunting piece of vampire lore. Bowie is magnificent and it is a shame he didn´t get more screen time. Deneuve and Sarandon also are very good but their characters could have used a bit more TLC from the script writer. But this is above all a visceral and an aesthetic experience which delivers in spades. A real class act!
re-rating. The cinephile that i was raged before of what i considered to be an exhibitionism of bad taste. This before John Woo's doves and the discovery of the Giallo, that diabolical source of excesses and outrages. Despite Scott's heavy machinery (here more light), the metaphor of blood as poison, of poison as life and blood as a creation of death, goes perfectly through the fleeting visual fulminations.
well-known for being stylish but its stealth star is editing. many moments when characters gaze elsewhere only to see something that shouldn't be there, isn't, or is and throws off the viewer re: space. + intercuts/juxtapositions of scenes and overlaid dialogue from the next scene that starts before the previous ends. the music is properly vampiric (why do so many vampires play piano?) & the mythos not overexplained
Go for the surfaces. Stay for the surfaces. You don't want to try and go deep. Keep to to the skin. Probably made to watch stoned. By people who were stoned. A lot of drugs went into the making of this movie and the America in which it happened. Mr. Scott stands alone as having made a relatively big budget movie of this era obviously formally influenced by Alain Resnais. To be is to be seen ... looking good.