Jim Jarmusch takes the long, slow road to a vampire movie aimed squarely at what happens when you use up resources, but yet, there will still be music.
Only Lovers Left Alive (2013) features Eve (Tilda Swinton), well read and generally wonderful, reconnecting with her significant other, Adam (Tom Hiddleston). She travels from Tangier, leaving behind good old mate Christopher Marlowe — played with the usual aplomb by John Hurt — to Detroit, where the collapse and abandonment mirrors Adam’s depression. Adam’s a muso of modest but enduring renown, and things are looking all right for the reunited lovers until Eve’s sister Ava (Mia Wasikowska) turns up to rock the boat with her over-eager, insatiable consumerism.
Because things are already tense for the children of the night, with the blood supply as tainted as the environment. Resources are getting scarce. The good stuff is in demand. And the food chain, and decency, are such fragile things.
It’s a slow-burner, shot almost doco style as Adam and Eve drive through derelict suburbs, living their lives in splendid and not-so-splendid isolation.
The vampire culture is wonderfully (under)drawn, with its own peccadilloes and gentle in-joke references. Living in the shadows, observers trying to find safe ways to interact, to leave a mark, however anonymously … the settings mirror the desolation, even Tangier — necessarily by night — an empty place where people offer only what is not needed. And the leads capture the mood perfectly. Swinton’s nuanced performance is a delight, and Hiddleston has the disaffected rock star air down pat.
It’s crafty, too, how at least one certain prop never gets to satisfy the Chekhov law, although perhaps that’s a Jarmusch law. Along with the music, of course.
As the predators prowl the decaying streets, the message is there in the coyote howls: nature will have its way, so we’d better look after it.