The Salvation of the Vampire
Only Lovers Left Alive and The Strain
By Jessica Dwyer
Over the last decade the vampire genre has become something of a joke to many. A glut of vampire themed films, television, and now its own romance novel subgenre has seemingly defanged one of the most beloved monsters in the world of horror.
Where the gothic dark mystique once was we now have a sparkling sheen of teen angst. Where the decaying fear inducing emaciated Count Orlok once stood towering we have a sexy bad boy with rippling abs. It wouldn’t be so hard to take if it wasn’t for the fact that it seems we are only getting clones of the same story over and over with the same sort of blood sucker who’s just lost their bite.
To save our beloved night dweller two genius directors have, as is sometimes necessary, gone back to the past to save the present. Jim Jarmusch and Guillermo del Toro have created two masterpieces of vampire media, one a film and the other a television series, both of them brilliant. Not only are they brilliant, but they both take their cues from the classic world of the vampire, keeping the fangs intact and bringing them to modern times, each with their own unique twist on the mythology.
Only Lovers Left Alive
Of the two, Only Lovers is the more classic film representation of the vampire. Jarmusch is a unique filmmaker and he brings that quirkiness to this film, creating a sardonic and world weary vampire in Adam (perfectly played by Tom Hiddleston who took the role when actor Michael Fassbender had to drop out.) The movie follows Adam as he resides in the slowly deteriorating city of Detroit.