REVIEW: Only Lovers Left Alive

18 08 2014

Only Lovers Left Alive posterCannes Film Festival – Official Selection, 2013

I’ve listened to countless interviews with James Gray about his film “The Immigrant,” so many that I can’t pair a quote with a particular interview and thus cite it correctly.  But in one talk about filmmaking in general, Gray talked about how great directors are effective at conveying mood.

I haven’t seen enough of Jim Jarmusch’s filmography to make a definitive statement about whether or not he is a great director.  But I have seen his latest film, “Only Lovers Left Alive,” and I can say that simply because it has control of mood does not make it a great film.  Jarmusch favors ambiance over story development to a fault in his film that probably had its proper title, “Modern Vampires of the City,” stolen by Vampire Weekend’s latest album.

The film comes from an original screenplay by the director, and it certainly earns points for being clever.  “Only Lovers Left Alive” runs in a different direction with the current vampire fad,  portraying the bloodsuckers as hipsters hiding out in the latest haunt.  When we catch up with Tom Hiddleston and Tilda Swinton’s immortal lovers, wittily named Adam and Eve, he has shacked up in Detroit while she’s hanging in Tangiers.

It’s undeniably entertaining to get immersed in the distinctive universe Jarmusch has them inhabiting.  Watching them figure out how to get the blood they need to survive is cheeky fun, as is the creative ways they choose to consume it.  Not to mention, their demeanors and attitudes are so unexpected that it can’t help but be attention-grabbing.  (Hearing them name-drop some of their famous friends makes for a good chuckle, too.)

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