From the director of Interview With A Vampire comes another gothic vampire tale, this time set in urban Ireland and based around Moira Buffini's 2008 play, A Vampire Story.
Clara (Gemma Arterton) and her daughter Eleanor (Soairse
Ronan) are vampires, roaming from one city to the next in constant escape of
the dark past that seems all too quick on their heels. The two rogues lead
lives of lies with ever-changing identities and achieve survival through
preying on weak lives and exploiting them for their needs. Clara prostitutes
herself to filth on the street for fleeting company, quick feeds and fast cash,
while Eleanor simply exists to float around and stick it out. But when they
settle in a small seaside town and Eleanor finds a light in the darkness with
Frank, relationships are tested and their habitual existence questioned forever.
Neil Jordan (The
Company of Wolves, Interview With A Vampire) certainly has a knack for bringing
an unnerving realism to his dark fairytales, as vampiresses walk the pavements
alongside an ignorant humanity and inhabit the seediest corners of urban Ireland . It’s a
stark example of Gothic fiction, brought to life through nightmarish circumstances,
scene-after-scene depictions of morbid dystopias, and a story spanning a vast
timeline dating back to the Napoleonic
Wars.
But Byzantium seems a few years too late to claim a
gothic revival, and thus stands more as a British amalgamation of borrowed concepts.
The theme of the roaming, suburban vampire on the run who struggles to live
with the consequences of their immortality in a modern society stemmed from European
horrors like Let The Right One In (2007), We Are What We Are (2010) and We Are The Night
(2010). Even the mythical context of their existence is reminiscent of the
ancient folklore so commonly depicted in contemporary fictional works like TV
drama Vampire Diaries.
However, where similar works have kept its immortals almost
isolated to their own segregated fold, Byzantium ’s protagonists are very emerged into
society, and it’s that physical involvement that allows it to flourish with its
characters and lead performances.
Eleanor is the narrator, the window from which we are
invited into their secretive world, and the film’s more intriguing character. Ronan
embodies a mature role as the righteous, good-willed monster, and impresses in
her natural effortless to transition seamlessly into the innocent, childlike
girl. We observe Eleanor’s coming-of-age tale through a series of self-prose,
of which she confesses her haunting past to subconscious minds and blank pages
as a vehicle to dispose of her pain. The predominantly classical score is
chilling, complementing her thoughts and revealing the melancholy of her
existence.
But it’s the torn relationships Eleanor has with Clara and
Frank that really exposes the strengths of Moira Buffini’s original play, A Vampire Story, which she adapted for Byzantium ’s screenplay. While Eleanor damns
Clara’s moral behaviour and is frustrated at the unforeseeable prosperity in
their nomadic lifestyle, she shows strong affection towards her mother and an
incapability to live without her. After stumbling upon Frank - a sorry,
friendless soul recovering from Leukaemia who takes an immediate fancy to her –
their oddities attract and their befitting bond grows to be the most touching and
complex of all. Ronan and Landry Jones (The
Last Exorcism, Antirival) must be the best in the business at performing
awkward but endearing character roles. And together, they shine on the screen.
From the trickling drops of blood from a hanky to the
gushing blood red waterfall, the exotic cinematography throughout is stunning,
the imagery equally so. Unfortunately, the story is quick to lose direction
after an hour when its attention switches from neat character interaction to
the trudging back-story, which becomes confused with an overabundance of
mythical substance. The tone too becomes warped as the initial efforts to
create an enchantingly eerie mood become sporadic, giving way to irrelevant
action set pieces and a hasty rush to end with some sort of climatic finale.
VERDICT: Ultimately, though Byzantium
excels in creating an alluring atmosphere, it fails to maintain an enchanting
hold by veering down an over complex route. Thus it escapes by the mere skin of
its teeth through captivating visuals and superb lead performances.
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