Only Lovers Left Alive
is what should be, in theory, a good movie.
It made vampires somewhat interesting again, which in current popular
culture is a noteworthy feat all on its own.
The film features great performances from talented actors, and the
dialogue features some interesting commentary from eternal beings’ views on the
human masses, colloquially deemed as “zombies.”
However, Only Lovers Left Alive
seems to lack one key element, and it really only hit me as the credits rolled:
this film doesn’t really have a plot. I
found the experience enjoyable as I was watching it, but is that enough to
justify this film’s existence if there isn’t enough thematic or dramatic
substance to tell a cohesive story?
Let’s start with our two main characters, Adam (Tom
Hiddleston) and Eve (Tilda Swinton).
Pointlessly allegorical nomenclatures aside, these two characters are
very intriguing takes on the vampire and eternal life mythos. Adam is a natural loner who only seems to
truly care for Eve. He broods and
creates music with an impressive array of instruments, but seems weary of life
and the idiocy of the human race. He
proclaims his love for the great scientists of history, but mourns how humanity
has again and again destroyed them personally through imprisonment and
ridicule. Eve, on the other hand, is the
yin to his yang, a lover of literature and history who loves Adam for his
artistry and isn’t quite so cynical about the world. Hiddleston and Swinton have a beautiful
gothic chemistry together, never elevating their voices beyond soft tones and
rarely moving faster than a relaxed slothliness. It’s easy to tell that these characters are
in love and why they love each other, and that love is never brought into
question.
I further really enjoy how the film treats vampires as a
“society” of isolated loners, pushed to the edge of extinction by the
contaminants that humans continue to pump into their bloodstreams. And yet, when the vampires partake of their
stock of pure blood, the result is euphoric, demonstrating that their food
source is just as much a drug for them as, say, heroine would be for a
junkie. It’s a rather novel take on the
vampire, for they are now a monster that belong in simpler times and struggle
to survive in a world where everyone’s identity is easily traced and it’s
impossible to devour a victim without someone investigating their
disappearance, nor is it desirable for their general health and well-being.
I only wish that the film had actually taken one of its
ideas for a plot and actually run with it for the entire runtime. Instead, the film feels like three separate
first acts with very quick resolutions.
The first plotline follows Adam’s and Eve’s initial separation and
coming together again while Adam struggles with a suicidal depression. But that depression is dropped within minutes
of Eve’s arrival (even if his characteristic melancholy remains intact). The second premise revolves around a visit
from Eve’s over-indulging party-girl sister, but that too is promptly wrapped
up with little consequence. The final
plotline follows from the second, but is resolved with the final shot of the
film, and without much fanfare.
I’ve decided to be intentionally vague about the details of
the last two plotlines because I’m going to give this one a very narrow
recommendation. The performances are
quite good, and the way these characters interact with their world is
intriguing in its interpretation of classic vampire mythos. However, I don’t think this movie is quite as
fresh as it’s pretending it is, because under its succulent aesthetic is
nothing but a hollow husk, sucked dry of any cohesive narrative arc. Take a bite of this one for a decent treat,
but just don’t expect it to taste as good as it looks.
What’s your favorite take on the vampire mythos? Let me know in the comments below.
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