The Hunger is a stylized, gothic horror film directed by Tony Scott in his directorial debut. Released in 1983, this cult classic blends themes of eternal life, eroticism, and addiction, set against a backdrop of moody atmosphere and haunting visuals. With a trio of compelling leads—Catherine Deneuve, David Bowie, and Susan Sarandon—the film explores the psychological and physical toll of immortality in a way that’s both elegant and unsettling.
Detailed Summary
Opening: The Vampire Allure
The film opens in New York City with a visually arresting scene inside a dark nightclub, accompanied by the song “Bela Lugosi’s Dead” by Bauhaus. Miriam Blaylock (Catherine Deneuve) and her lover John (David Bowie) seduce a young couple, only to reveal that they are centuries-old vampires. The scene establishes the film’s sensual, cold, and hypnotic tone.
John’s Decline
John begins to notice disturbing signs of aging, despite Miriam’s promise of eternal youth. His condition rapidly deteriorates—his body aging decades within a day. Desperate for answers, he visits Dr. Sarah Roberts (Susan Sarandon), a gerontologist studying the science of aging.
When Sarah dismisses his claims, John returns to Miriam, begging for help. But Miriam, having experienced this cycle before, has no cure to offer. She locks John—now an ancient, withered figure—in a coffin in her attic, along with her past lovers, who are not dead but trapped in a conscious, paralyzed state.
Sarah and Miriam
Sarah, disturbed by John’s sudden disappearance and strange condition, investigates further. Miriam, recognizing Sarah’s intelligence and beauty, seduces her. What follows is one of the film’s most controversial and iconic scenes: a slow, dreamlike love scene between Miriam and Sarah. After the encounter, Sarah begins to experience strange symptoms—sensitivity to light, heightened senses, and an insatiable thirst.
Transformation and Consequences
Sarah tries to fight the transformation but cannot resist her new urges. She begins to experience the psychological torment that comes with immortality and bloodlust. Meanwhile, her partner Tom (Cliff De Young) becomes suspicious, leading to a confrontation that ends in violence.
Realizing the horror of her new life, Sarah confronts Miriam. In a dramatic and ambiguous climax, Sarah stabs herself in the throat, seemingly rejecting eternal life. Miriam attempts to save her, but something unexpected happens—Miriam begins to weaken, her past lovers awaken, and she is ultimately consumed by the consequences of her own immortality.
Movie Ending
The ending is dreamlike and open to interpretation. Miriam is left broken, trapped with her former lovers, apparently destroyed by Sarah’s suicide. However, in the final scene, Sarah appears alive and well, residing in a luxurious apartment with a new set of young companions—hinting that she may have survived, adapted, and become the new matriarch of immortality.
This enigmatic ending blurs the line between death and rebirth, punishment and liberation.
Are There Post-Credits Scenes?
No, The Hunger does not feature any post-credits scenes. Once the credits roll, the story is complete, though the ambiguous nature of the ending continues to provoke discussion and interpretation.
Type of Movie
The Hunger is best categorized as a gothic horror drama with strong romantic, psychological thriller, and art house elements. It leans more into atmosphere and style than traditional horror scares.
Cast
- Catherine Deneuve as Miriam Blaylock
- David Bowie as John Blaylock
- Susan Sarandon as Dr. Sarah Roberts
- Cliff De Young as Tom
- Dan Hedaya as Lieutenant Allegrezza
Film Music and Composer
The haunting score was composed by Michel Rubini and Denny Jaeger, interwoven with classical music from Bach, Delibes, and Schubert. The soundtrack plays a vital role in the film’s eerie and sensual tone, particularly the use of Lakmé’s “Flower Duet” during key emotional scenes.
The opening sequence also famously features Bauhaus’ “Bela Lugosi’s Dead”, marking one of the most iconic music cues in goth cinema.
Filming Locations
The movie was shot largely in New York City, which adds to its gritty, urban gothic atmosphere. Scenes in Miriam’s lavish townhouse (filled with art and relics) contrast sharply with the stark, modern medical facilities, highlighting the divide between ancient mystery and modern science.
The juxtaposition of upscale Manhattan and decaying interiors emphasizes themes of timelessness, beauty, and decay.
Awards and Nominations
The film did not receive major awards upon release but has since become a cult classic and is highly regarded for its cinematography, fashion, and performances. It is often referenced in retrospectives of queer cinema and gothic horror.
Behind the Scenes Insights
- Director Tony Scott was reportedly pressured by producers to cut down on the film’s surreal and abstract visuals, though many of these remain in the final version.
- Susan Sarandon initially had concerns about the script’s love scene, but later praised its beauty and sensuality.
- David Bowie was reportedly frustrated by how quickly his character aged and vanished from the plot.
- The film was criticized at the time for prioritizing style over substance—but that same style is what earned it its cult following.
- Deneuve and Sarandon had a very respectful and open dialogue during filming of their intimate scenes.
Inspirations and References
The film is based on the 1981 novel The Hunger by Whitley Strieber, though the adaptation deviates significantly in tone and plot. The book focuses more on vampirism as a disease, whereas the film treats it more like a metaphor for addiction, beauty, and control.
The movie also draws heavy influence from gothic literature, classical tragedy, and 80s fashion photography.
Alternate Endings and Deleted Scenes
No official alternate endings have been released, but early drafts of the script featured a more definitive death for Miriam. Some deleted scenes further explored Sarah’s transformation and John’s slow decline but were cut to maintain pacing and ambiguity.
Book Adaptations and Differences
In the novel:
- The vampirism is explained in more scientific detail.
- Sarah’s transformation is less romanticized and more clinical.
- Miriam’s backstory is more extensively explored.
- The book ends with Sarah being fully enslaved to Miriam, in contrast to the movie’s ambiguous suggestion of rebellion.
Memorable Scenes and Quotes
Key Scenes
- The opening nightclub seduction scene with Bauhaus.
- John aging rapidly in the doctor’s waiting room.
- The iconic love scene between Miriam and Sarah.
- Miriam’s collapse as her lovers awaken.
- The mysterious final apartment scene with Sarah.
Iconic Quotes
- Miriam: “Forever is just the beginning.”
- Sarah: “You’ve given me something I never dared hope for… time.”
- John: “You said forever!”
Easter Eggs and Hidden Details
- The use of “Flower Duet” is a nod to Lakmé, an opera often used in films to signify romance and doom.
- The film includes paintings by Klimt, reinforcing the theme of beauty, immortality, and decay.
- Bowie’s character watches monkeys in a lab cage—mirroring his own fate later in the film.
- Sarah’s name echoes the biblical figure associated with fertility and rebirth.
Trivia
- Tony Scott landed the job after directing a perfume commercial with a similar tone.
- Catherine Deneuve did not blink once in her scenes to enhance her character’s coldness.
- The film influenced later vampire media, including Interview with the Vampire and Only Lovers Left Alive.
- Bowie’s rapid aging makeup took hours each day to apply and remove.
Why Watch?
Watch The Hunger for its stunning visuals, haunting score, and gothic atmosphere. It’s a unique entry in vampire cinema that values mood and metaphor over gore. It’s especially powerful for those interested in themes of eternal love, mortality, and identity. If you enjoy art house horror, this is a must.
Director’s Other Movies
- Top Gun (1986)
- Man on Fire (2004)
- Crimson Tide (1995)
- Enemy of the State (1998)
- True Romance (1993)
Recommended Films for Fans
- Only Lovers Left Alive (2013)
- Interview with the Vampire (1994)
- Let the Right One In (2008)
- Near Dark (1987)
- Thirst (2009)
- Possession (1981)
- Triouble Every Day (2001)
