JOHN CARPENTER'S "VAMPIRES" Review by R. L Strong
John Carpenter's VAMPIRES James Woods, Daniel Baldwin, Sheryl Lee, Thomas Ian Griffith, Maximilian Schell, Tim Guinee Executive Producer: Barr B. Potter Original music by John Carpenter Cinematography by Gary B. Kibbe Costume Design by Robin Michel Bush Production Design by Thomas A. Walsh Film Editing by Edward A. Warschilka Co-Producer: Don Jakoby Produced by Sandy King Screenplay by Don Jakoby Directed by John Carpenter
Vampire films, today, are about as passe' as Westerns. The genre has been revisited so many times with so many incarnations that their seems very little left to derive from the classic creature. The history of the creature goes far back into mans past. Legends and mythologies abounding in many different cultures in every part of the globe. All of these various incarnations of vampiric ancestry all deal with two basic tenants.. first they all live off the blood of the living. Secondly, they are the polar opposite of religious faith.
With John Carpenter's latest release "VAMPIRES", we are given a slightly new variation of the Vampire myth. One which is so intriguing and thought provoking as to be worthy of a film all it's own.
The film opens in New Mexico where a distaff group of mercenaries approach a dilapidated home in an abandoned town. We are introduced to Jack Crow (marvelously played by James Woods), through a series of ever increasing close ups, while his team prepares for what may well be Armageddon. Without a line of dialogue, Jack Crow is shown to be a man driven by a revenge so all encompassing, that the simplest human courtesies are almost non-existent.
The raid on the house reveals it to be a nest of vampires. They are systematically shoot staked and dragged out into the afternoon sunlight, with only the slightest concern of faith. The lone Priest (Thomas Rosales), with the group, performs an almost indifferent last rite as each Vampire is burned. After the siege, Jack Crow is still curious as to why these vampires were only minions and that there was no master vampire at the site.
During a celebratory party at a small hotel on the outskirts of a small town, the Master Vampire shows himself. Valek (Thomas Ian Griffith) firstly attacks Katrina (Sheryl Lee), a prostitute, while she waits for Jack in another room. As the vampire hunters celebrate, Valek attacks, viciously eviscerating the team, leaving only Jack Crow and second in command Tony Montoya (Daniel Baldwin) alive. Rescuing Katrina, the three men escape as the sun rises, leaven them safe from Valek's attack.
It is from here that the film starts to take a turn with it's plot. There is a growing sense of conspiracy throughout the film, as information is given in only tensely voiced bits of dialogue. Returning to the a Church, Jack Crow receives orders to assemble a new team of vampire hunters. Balking at the orders, he leaves put is saddled with a new Priest, Father Adam Guiteau (Tim Guinee), who may know more about the situation than he claims.
"Vampires" is more of an action film than a tried and true horror exercise. If a comparison needed to be made, you could compare the film to 'From Dusk 'Till Dawn', but that would be doing this film a great disservice. Carpenter's direction and manipulation of the plot is as intricate as anything he has done. He discloses only enough information as to propel the story forward, much in the way that John Ford (or a better comparison, Samuel Fuller) would. This leaves the viewer with much grist to contemplate after the film has ended. As Carpenter has done before, with such films as "Assault on Precinct 13", "Prince of Darkness" and "They Live"; all we know of the villain is a cursory biography of what made them what they are and what their ultimate goal is. Carpenter's villains are always purely evil, and completely self absorbed.
James Woods is one of the most underrated character actors in the business. His portrayal of Jack Crow is a man caught between two worlds. His affiliation with the Church is at complete odds with his life style. He curses, drinks, and coerces others into a life of sin. This is a man who is not fighting for his soul, because he lost it at childhood. He's soul purpose in life is death.
Daniel Baldwin as Tony Montoya is an interesting characterization. Here is a man with no emotional connection to anyone until he is forced by infection to. His relationship with the vampirized Katrina is almost heartbreaking. While Baldwin does a capable job, the part could have used a more intuitive performance.
Sheryl Lee as Katrina is the most underwritten character in the film. We really know nothing about her other than she is a prostitute. What Ms. Lee is able to do with this role is outright remarkable. Her change from fear and loathing to acceptance is remarkably subtle and believable. Here is a woman who would rather die than face the immortality promised by Vampirism. There is a nice Aids parallel here in that those who face the disease must cope with the fact that they will always have it and that they will always be under treatment. Death is no longer as fearful, as the prospect of needing constant treatment for the disease.
The sole disappointment in the film is Thomas Ian Griffin as the vampire, Valek. While Mr. Griffin does a more than a capable job of bringing passionate life to the character; Valek is so underwritten as to be obviously nothing more than what could be called a McGuffin. A plot device used solely to propel the plot forward. There are some wonderful thoughts brought up about the character, but we are told nothing more than what is needed to move the plot towards it's unequivocal end.
The script by Dan Jacoby does a fine job of redefining the vampire mythology. WE are told that these creatures do not respond to anything other than being staked in the heart or being dragged into the sunlight. Religious beliefs have no effect as the creatures were created as a result of the Church. This is one of the most fascinating indictments of religion ever put on screen. While completely fictional, it does bring up questions about the role of the Church in world economics and politics.
How does this film fit into John Carpenter's overe? The best answer is very well. The film continues his subversive slant on moral doctrine and complacency. He shows his characters drinking and carousing with prostitutes all in the presents of a priest. These men have no boundaries concerning themselves. While they have a familial respect and camaraderie to one another, their only concern is on personal freedom. Vampirism from that point of view becomes pure subservient, completely destroying the individual to become nothing more than a servant or slave to the Vampire master. Is "Vampires' political in tone. Yes, very much so. But it's politics are subliminal, never intruding on the story. But they are always there in subtext, strong and willful.
"Vampires" is a very enjoyable film. Taken as a purely escapist romp, the film serves up it's action and horror set pieces with a verve and passion that delivers. 'Vampires' also delivers in ways unexpected. You may find yourself talking about the film long after you've left the theater.
On a scale of 1 to 5, "John Carpenter's VAMPIRES" rates a solid 4. Rated 'R' for extreme violence, nudity and profanity.
Copyright 1998 R. L Strong Nothing in this article may be quoted or re-printed without the express written permission of the author.
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