Editorials
[Special Feature] Reflect Back On the ‘Underworld’ Franchise & Its Sexy Heroines!
With Screen Gems’ Underworld: Awakening 3D hitting theaters on January 20, 2012 (which is just around the corner, practice writing that new year now so your checks are legit in a few weeks) you might be looking for a refresher on some of the events of the franchise. These films, believe it or not, have been going strong for almost a decade now – and since they focus heavily on the lineage of several specific families and clans viewed though the lens of a highly political war between Vampires and Lycans – they’re not 100% stand alone.
And one thing is certainly different this time as opposed to the prior outing – Kate Beckinsale has returned to the series, reprising her role as Selene. Also changing hands are the reigns behind the camera – the film is directed by Mans Marlind and Bjorn Stein. It also stars Stephen Rea, Michael Ealy, Theo James, India Eisley and Charles Dance.
“Kate Beckinsale, star of the first two films, returns in her lead role as the vampire warrioress Selene, who escapes imprisonment to find herself in a world where humans have discovered the existence of both Vampire and Lycan clans, and are conducting an all-out war to eradicate both immortal species.”
Hit the jump for a quick, Underworld: Awakening 3D sponsored, look back at the first three films.
For starters the entire franchise has strong shades of “Romeo & Juliet” throughout. While there isn’t one central romance that runs through all three films (there are several – with the Selene/Michael Corvin tryst being central to the first two films) the centuries long battle between the Vampires and the Lycans is imbued with dashes of the Montagues and Capulets in the sense that this is a blood feud that has not only killed countless “beings”, but has fractured the internal politics of the franchise’s central family units. A war predicated, in many ways, on secrets, misunderstandings and the vampire enslavement of Lycans.
In Underworld the accepted truth, as Selene knows it, is simply that the Lycans are a menace and that it is her duty – as a Death Dealer – to eliminate them. As she investigates their surprisingly specific targeting of Michel Corvin (Scott Speedman), she discovers that the ancient Lycan leader Lucian (Michael Sheen) is actually still alive and is plotting an attack on the Vampire clan. Not only that, but the reason the Lycans have been specifically targeting Corvin is they believe his blood genetically predisposed to give them the ability to create a half Vampire/half Lycan hybrid that is more powerful than any one species on its own. No one has ever survived a bite from both species but Corvin’s blood just might be the antidote to that little problem.
Kraven, who intends on marrying Selene and making her his queen, is none too thrilled with the investigation. Selene awakens ancient Vampire elder Viktor (Bill Nighy) despite his desire not to be disturbed for at least another 100 years, to explain the impending danger and alert him that Kraven may indeed be a traitor working with the Lycans. Viktor is having none of it, and despite his affection for Selene (he rescued her from a werewolf attack when she was just an infant) demands that she be punished.
Michael, who has been bitten by Lucian and is turning Lycan, has visions of what really happened – there was no Lycan attack on Selene’s family. Viktor was actually feeding on them and decided to spare her because she reminds him of the daughter he burned alive hundreds of years ago for falling in love with Lucian.
This lie greatly informs Selene’s decision in the film’s climax wherein Kraven’s deception is unmasked and Lucian and Michael are mortally wounded. The dying Lucian reminds Selene that since Michael has the genetic component to survive both Vampire and Lycan bites, she can restore him with her power. In doing so she makes Michael Corvin the first Vampire/Lycan hybrid and when it comes time to choose between him and Viktor in their final battle – she kills Viktor.
Underworld: Evolution uses the events and world-building of the first film to create a more contained narrative.
After Selene killed elder Vampire Viktor, only one of the three original elders remains – Marcus. Upon awakening, Marcus (Tony Curran) – who has the ability to grow huge wings with stabbing talons and fly like a bat – learns of Michael’s transformation into a hybrid. As any elder would (remember these Vampires hate Lycans – so they’re definitely not into race mixing.), Marcus goes on the hunt for Selene and Michael.
Selene and Michael visit Marcus’ father, Alexander Corvinus (no accident that Corvinus also has the root Corvin, as in Michael’s last name) to discuss ways in which to stop Marcus. But Corvinus cannot commit to killing his own son – now matter how evil he recognizes he is. Too bad Marcus doesn’t feel the same way about his own father. After arriving on the scene and causing quite the ruckus (and seemingly killing Michael), he mortally wounds Corvinus in order to obtain the key that will lead him to William, a powerful Lycan. Dying, Corvinus forces Selene to drink his blood.
Selene (Michael’s corpse in tow) goes after Marcus via helicopter. By the time she catches up Marcus is in already in process in his plan to take out William and a big tussle ensues between the three parties. Michael comes back from the not-quite dead and together they dispatch of Marcus and Michael. Bonus? That blood that Corvinus made Selene drink has now given her immunity against the sun. She and Michael can keep ‘normal’ hours together!
In some ways, Underworld: Rise Of The Lycans is the Rise Of The Planet Of The Apes of the Underworld series. Clocking in at a brief 90 or so minutes, it’s a brisk and focussed look at the genesis of the Vampire/Lycan war.
Many of the events in the film have been alluded to, shown or whispered of in the previous installments – but here they’re all laid out linearly.
When Viktor happens upon infant Lucian while wiping out a pack of Lycans, he thinks twice about firing his crossbow into the child (I guess this is a theme with Viktor – rescuing infants while out pillaging). Michael Sheen returns to play the adult Lucian, the Lycan slave of Viktor’s vampire clan who slowly moves from obedience into self actualization and rebellion. The Lycans are bred to be slaves after all, chained to guard their Vampire masters as they sleep.
Viktor’s daughter, Sonja (Rhona Mitra – who does remind one of Kate Beckinsale, a necessity outlined by the lore in the original film) takes a liking to Lucian despite his indentured nature (he literally has to wear a collar). In fact, Lucian and Sonja fall in love, a courtship that includes some fairly wild cliff-top romancing if you get my drift. As Lucian learns what it’s like to feel love and equality – his inner Che Guevara begins to take hold.
After he amasses an internal group of Lycan revolutionaries they escape Viktor’s castle and take refuge in the countryside, plotting their new life. But when Viktor discovers the secret of Sonja and Lucian’s courtship he is outrages. He all but disowns his daughter and confines her to her room. He’s also counting on her beckoning to Lucian, drawing him back in so he can exact his revenge when Lucian storms the castle.
After he has Lucian back in his grasp, Viktor chains the Lycan across the room from Sonja. It soon becomes clear that Viktor has planned on sacrificing his own daughter as part of his revenge plot – and indeed when the sun rises and peeks through the opening on the roof Lucian watches Sonja disintegrate and ember into ash.
Lucian transforms and his werewolf army storms the castle – eliminating almost all of the vampires. It’s a temporary victory that marks the beginning of the Vampire/Lycan war – Viktor and the other elders have escaped. We dissolve into the first image with which the series began – Kate Beckinsale’s Selene astride a rooftop, still unaware of the secret knowledge of the war – ready deal death to the Lycans.
Picking up 12 years after the events of Underworld: Evolution the world Selene confronts in Underworld: Awakening has changed greatly. Humans are now aware of both Vampires and Lycans – and they intend to exterminate both species to protect the human race. The key to the ongoing battle lies with Eve, the first Vampire/Lycan hybrid ever. Whomever gets the girl, wins the war. Awakening also will introduce the first ever Uber-Lycans, twice the size of normal Lycans, to contend with. Sounds like it could be a bumpy ride!
Horror was thriving so well in the 1980s that movies like Pen Densham’s The Kiss (1988) would understandably get lost in the shuffle, only to then gain their fans later on in life. Even still, this one Canadian-American curio has had a more challenging time than others, as far as contemporary reevaluations go, which is very likely due to the movie’s limited availability—at least as of this write-up.
However, the scarceness of The Kiss, while a bit annoying, makes it like catnip for ‘80s horror completists everywhere. Hopefully, a lot of them will walk away satisfied after watching this hidden gem.
Even though The Kiss was intended as the first of several horror collaborations between Astral Pictures and TriStar, as well as the first feature produced by Densham, Richard B. Lewis and John Watson’s Trilogy Entertainment Group, it ended up being the only one produced from that former union. Once the movie was released, TriStar’s distribution jitters—they opted for a regional rollout—did the $6-million flick no favors. TriStar’s cold feet toward horror releases have been well noted, but The Kiss still did a tad better than Night of the Creeps (1986), another genre outing that flopped due to its regional opening.
Shot in Montreal, but set in Albany, New York, The Kiss—which was still called The Host just a few months before its October premiere—concerns an average middle-class family and their forthcoming situation. The uncanny problem in store for them was, in fact, set in motion some years earlier. As that hot and dusty flashback to the Belgian Congo shows, a familial curse was set upon the two Dunbar sisters well before Meredith Salenger’s teenage character was born.
Meredith Salenger, Nicholas Kilbertus and Mimi Kuzyk in The Kiss
The Kiss, which was based on a story by co-writer Stephen Volk (Ghostwatch) and penned by both Volk and Tom Ropelewski, has the outward appearance of The Stepfather (1987). This movie, though, is anything but a gender-flipped retread of that classic domestic disturber. For starters, The Kiss is far less grounded in reality—that much is clear from its unsettling opening scene. There, a trusting girl (Priscilla Mouzakiotis) is the victim of her own deceptive aunt (Céline Lomez); the movie’s titular act, and the story’s first shock, becomes the means of transferring an ancient evil from one host to another.
In the present day, Salenger’s role of Amy Halloran, a religious schoolgirl, is dealt a harsh blow in life once her mother, Hilary Halloran née Dunbar (Pamela Collyer), suddenly dies in a freak accident. But rather than a complete stranger sweeping the Halloran widower (Nicholas Kilbertus) off his feet some months later, Joanna Pacula’s character is that chosen temptress. Here, Pacula plays the grown-up version of the afflicted girl last seen in the movie’s opener. Since Amy’s mother is insistent about there being no reunion between estranged sisters, and she even contemplates buying a gun shortly before her tragic demise, it’s presumable that Aunt Felice poses a threat to her family.
The Kiss isn’t a movie ever too concerned about its own predictability. The audience is indeed often one step ahead of the story here, but also keep in mind how every one of those steps is loud. Take, for instance, the death of Amy’s mother; the Halloran matriarch goes out in garish, gruesome fashion, as a supernaturally commandeered truck sends Collyer’s character through a store window first, then leaves her one leg short. The directorial enthusiasm truly comes out in horrific moments such as these.
The Kiss is always sure to revel in its characters’ ills and misfortunes. So if the plot doesn’t impress, then its lurid parts should. Amy’s mother’s exit scene was proof of an eager, first-time horror director proving his worth. Then, bestie Heather (Sabrina Boudot) survives to tell the tale of a bizarre escalator mishap that, despite showing relatively less gore, spikes viewers’ empathy meter. The wilder bits of this movie, however, commence with that inevitable hookup between Felice and Amy’s bewitched father; their kitchen coitus is paralleled by Amy’s feverish classroom terror. The outcome there is a disquieting cross-cut of sex magic and a young woman’s menstrual onset plus hallucinations.
Sabrina Boudot in The Kiss
From foam appliances to bladders, that parade of special effects in The Kiss casts its own spell on the audience. Felice’s familiar, a visibly malevolent cat, was realized here with several models, some more articulate than others. Admittedly, the demon cat’s not as convincing as most of the effects here, but accepting that artifice, as opposed to fighting it, will make the whole experience way more enjoyable. As for the makeup used to manifest Felice’s inner villainy, it is more minimal and subtle than one might like; yet the work done to turn Pacula into an antithesis of herself is nonetheless compelling.
The otherworldly perils and dreadful goings-on wouldn’t work half as well as they do in The Kiss without the story’s contrast effect. Finding frights in picturesque, extremely ordinary settings was something that took off in the ‘80s, thanks to that sweeping shift to locales like the suburbs. And Amy’s home, a replica of a real Montreal suburban house, is the ideal battleground for any proper good-versus-evil story. It’s also prime real estate for this movie’s satanic panic-inspired horrors.
Because of their ostensibly similar plots, The Kiss has been compared to The Exorcist (1973). Except in Densham’s movie, the sinister, non-Christian entity targeting a teen girl lies within something less apparent and, perhaps, more devastating upon its exposure. To an outsider, Pacula’s Aunt Felice is too beautiful and unobjectionable to ever suspect of being a monster. More suspicious is how quickly she rips into the fabric of the Halloran home. Felice’s mere presence upsets the “texture of family life,” according to the director.
The demon cat in The Kiss
Taking out Amy’s mother and best friend, and distracting her father, would suggest The Kiss is playing by a different set of rules. It is initially leaving its adolescent target unsupported in a rather grim scenario. In contrast, though, this story offers up a surrogate parent who does her best to fill in the holes of Amy’s eroding home life. Mimi Kuzyk does good work as that family friend and doctor, Brenda, who guides the lost child without also steering her in any one direction; she is naturally skeptical of Amy’s accusations until it’s almost too late to do anything about them. So although The Kiss does an admirable job of undoing the main character’s support system, it never leaves her without a lifeline. This dark movie, in spite of everything that’s transpired, doesn’t deprive itself of light and hope.
The Kiss is a potent mélange of familiar ideas. If not for the director’s surprise flair for horror, though, the movie would have been less effective. What a shame that Pen Densham didn’t continue with the genre. As for Joanna Pacula, she is, too, owed credit as the wicked vixen opposite Meredith Salenger’s pitiable Amy; she never fails to be unsettling in her role. Pacula makes Aunt Felice a sexy yet intimidating character.
For horror that steadily doles out madness and menace, while also delivering a flashy and ghastly conclusion, The Kiss is certain to please. Yes, it’s cheesy all the way, but most favorably, everyone involved plays everything straight. That kind of commitment goes a long way with this movie.
The Kiss
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