BLU RAY Review: BYZANTIUM

Posted by Daniel Mann

THE FILM: Byzantium signifies the long-awaited return of Neil Jordan to the Vampire genre. The last time we saw Jordan tinker in this genre was with his adaptation of Anne Rice’s much beloved novel Interview with the Vampire, a book which in part studied the homosociality of the newborn vampire and his maker. Almost twenty years removed from that film, Jordan finally returns to the genre re-exploring another relationship that last for all of eternity. Only this time seen through a feminist perspective as he explores a fractured mother-daughter relationship spanning the course of 200 years.

Byzantium introduces us to Eleanor (Saoirse Ronan) who has been living off human blood for the past 200 years. Her life is her story and as such her story can never be told out loud. Never the less, she still writes it down in her journal only to throw the pages to the wind. Eleanor introduces us to her saviour, her burden, her companion, her maker and her mother Clara (Gemma Arterton). Clara poses as a prostitute in order to provide for the both of them. When Clara’s past catches up with her, it forces both Clara and Eleanor to once again go on the lam and seek refuge in a new place.

Finding a new home in a small seaside town, Clara seduces a kind yet obliviously lonely innkeeper by the name of Noel (Daniel Mays). The mother and daughter seek refuge in his non-functioning hotel named Byzantium. Clara decides to take advantage of her new found home by turning it into a local brothel much to Eleanor’s revulsion. Meanwhile, Eleanor meets an awkward yet kind teenage boy by the name of Frank (Caleb Landry Jones) whom quickly grows infatuated by her mysterious presence.

The narrative skims back and forward between the past and present as Eleanor narrates and unravels the mystery of the tragic beginnings for both herself and her harlot mother. Allowing for the past to eventually collide with the present thus setting the stage for a climatic showdown between an ancient brotherhood and the two women who have abandoned and betrayed it.

Derived from a stage play titled A Vampire Story written by Moira Buffini who also wrote the screenplay herself. It’s quite apparent that Buffini wears her influences loud and proud as there is a little bit of everything mixed into one package. There is a little bit of Bram Stoker, a little bit of Carmilla, a little bit of Anne Rice, a little bit of Guillermo Del Toro, a little bit of John Ajvide Lindqvist and so on. But in proudly wearing all of its influences, it also plays a detriment as Buffini falls into the trap of forgetting to bring anything new to the concoctive mix. As such, it is left to linger in the shadows of many of its own influences.

The lead performances from both Saoirise Ronan and Gemma Arterton are strong and confident with both acting as counter points to one another. Arterton’s Clara is a tragic figure who grew up in the abusive environment of a whorehouse. Learning the harsh lesson that the only way to survive is to play ruthlessly by showing no mercy to those who oppose her. This is no more apparent then her choice of victim, which tends to be of the male persuasion, most notably desperate men who lust after wayward prostitutes. For all intents and purposes she is the tortured former angel who seeks retribution on the gender who played a large hand into her corruption of self.

Ronan’s Eleanor acts as the counter weight to her mother’s skewed avenging existence. Eleanor retains her sense of compassion and burdening guilt for what it is she does. Unlike her mother, Eleanor chooses to prey on the elderly who have chosen death by her hands. She also displays an over abundant need for honesty to help cleanse the guilt she harbours towards her own damned existence. The two women couldn’t be any more different in their outlook towards their cursed existence. Lending further credence to the already fractured mother-daughter relationship. Both Ronan and Arterton pull off what is required of them with a strong sense of poise.

The true strength of the film is found once it starts dipping its toes into the past time narrative. The past time narrative is very much what you would expect from a Neil Jordan vampire film. Which is to say its steeped in a grand lavish operatic gothic Victorian flavour. It’s within the past time narrative where Neil Jordan also manages to establish a real sense of gravitas and tragedy within his characters. Not to mention that it also gives way to some of the more strikingly appealing visual moments, including Gemma Arterton showering in a waterfall of blood upon her rebirth.

It’s in the present day narrative where Jordan fumbles the most as the pacing plods aimlessly exploring both Eleanor’s guilt and her blossoming relationship with Frank. Leaving the film to wait patiently for the past time narrative to sync with the present. Once the two time periods clash, it then gives way to an artificially contrived expected finale that manages to be both thrilling and potentially out of place at the same time.

Despite the talented cast being under the guidance of a truly talented Director, the biggest problem with Byzantium is that it’s left to linger in the shadows of countless stories that have inspired it. Still, there is much to be admired here if you can overlook it. It is a serious vampire story and the talented performances and direction on offer here is appreciated. There are themes to be admired, notably the central theme of the fractured mother-daughter relationship. It’s just a shame it never elevates beyond its many influences.

THE DISC: The Australian Blu-Ray is a Bare Bones Release.