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Interview with the Vampire, a cult movie from the 90’s in which some important icons of the silver screen star, such as Brad Pitt, Tom Cruise and a young Kirsten Dunst, tells about the events surrounding the interview of a reporter (Christian Slater) with the mysterious vampire called Louis (Brad Pitt), who will begin to narrate his story, started two hundred years before.
Along with Bram Stoker’s Dracula by Coppola (1992), Interview with the vampire represents a divide between the old and the new conception of vampire entities, now seen as sensual creatures with a luxurious charm. A nonexistent scenario. The exact opposite of Murnau’s Nosferatu (1922), a horror movie masterpiece, in which the vampire appeared as much grotesque in the look as in the soul. The appeal of these “new” contemporary vampires is based on a new relationship: the more they are ruthless, the more they are attractive. Beauty and immortality become then a combination that will set in the Hollywood industry.
Going through the tale in first person, Neil Jordan keeps a friendly tone; in this way the drama of the main character is shown, as it is the never-ending struggle between human feelings and vampire nature. Louis, indeed, has always been living with the sense of guilt, as a result of all the murders that he is forced to commit to survive; an excruciating feeling that is missing, instead, in his mentor Lestat (Tom Cruise), who seems to have no regrets about his life as an immortal being.
The concept itself of immortality is presented by Jordan with a sort of negative connotation: the eternal life is not seen as a privilege, but as a conviction to live a destiny that will keep happening, trapped into a loop that leaves the existence itself meaningless. Claudia (Kirsten Dunst) is the perfect example of this concept: she is adopted by the dysfunctional duo made of Louis and Lestat, who generate a parody of a family unit, and also she is odd, cruel and hides a deep pain caused by her condition as an eternal child. The considerations about the single existences recall to the sense of an inevitable downfall, due to the end of an era and well portrayed by the slow film pace, which is exaggerated by a gloomy photography that switch between the city of Paris during the XIX century and a modern San Francisco.
Giada Portincasa – Translated by Beatrice Birolo