Interview with a Vampire, written by Ann Rice, begins and ends in San Francisco. The interview took place in a building I would walk past frequently because it was in my old neighborhood, The Tenderloin.
One of the scenes in
Interview with a Vampire takes place on the Golden Gate Bridge. The Bridge, in this movie, is a symbol where the gap between two worlds is traveled via a misty passage.
Bradd Pitt is the too-sincere-to-be-a-vampire vampire. The movie has at least one backward glance that has to be a visual
double entendre that could be considered a gay pass between Bradd Pitt and Stuart Townsend.
Armand propositions Louis in another scene. (
Their character names.)
But we all know this is a gay film. That is part of why I am so fond of it. I saw it again on DVD recently; minus the popcorn and the sticky floor.
I was struck by what a philosophical film this is. Brad is a creature of his age because he does not fit in. Is the product of a given age someone who would be at odds with it? Apparently so.
Brad has internalized the contradictions of his age. He compensates for its' shortcomings without realizing it. His own nature has been shaped and molded in a certain foundry. Vampires are nothing if not eternal. There is the difference in their nature, or essence. That's the profound change Ann Rice seeks to illustrate.
The price of eternal life is the inability to change. But the ability to change is the very definition of life. Perhaps, life is the ability to adapt.
The film explored the meaning of the quality of being human. What are it's properties?
As the buddha would say, suffering comes from clinging to things. Also, change is eternal. Lestat observes that Louis clings to "His precious guilt" He must have it; the suffering I mean.
The Misty Passage:
There are two kinds of change, incremental, and profound. Change of the incremental type does not alter the nature of an individual. The profound change does.
© James Legare Feb. 1, 2009