Bloodsucking Cinema : A Vampire Primer of Sorts

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The vampire is perhaps the most enduring creature of the horror genre. Immortal, soulless, sexually ambiguous, unfettered by any social or moral codes, the vampire represents the dark edges of the collective consciousness. Bloodsucking Cinema, premiering on cable network Starz tonight, traces the origins and evolution of the vampire as a cinematic icon.

From the genre’s origins with the silent classic Nosferatu to contemporary-videogames-as-film like Bloodrayne, this special races through the sub-genres of the vampire movie. It doesn’t go into a great deal of depth, but it does have its entertaining moments. Cheech Marin provides a lot of those in his recounting of the physical horrors of the contact lenses he had to wear during From Dusk til Dawn (“like sticking staples in my eyeballs”).

Bloodsucking Cinema is full of those kind of anecdotes, with appearances by actors and directors of contemporary vampire movies offering little tidbits about the making of their particular films.Whether its Joel Schumacher droning on about how The Lost Boys reinvented the vampire movie, or Jon Landis gleefully explaining why his Innocent Blood was a uniquely sexual twist on the myth, the special has no shortage of auteurs promoting their past glories, real or imagined.

Where the special is at its best is in following the circuitous routes the vampire movie has taken through the decades. The German Expressionism of Nosferatu was the cornerstone of the genre, but it was Todd Browning’s 1931 Dracula that lay the foundation for all vampire movies to come. Oddly, that film also gave birth to the Mexican vampire offshoot of the genre, the influence of which is more pronounced in more recent films. Robert Rodriguez’s From Dusk til Dawn and John Carpenter’s Vampires would most likely have never existed without the influence of the vampiro movies.

Bloodsucking Cinema touches on all the variations of the vampire movie—western, noir, comedy, superhero and so on, but never serves up any meat to its thesis. Still, as a primer to the vampire’s dark charms and enduring influence on the horror genre. It’s more promo-mentary than documentary, which is really what it was designed to be.

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It’s the lead-in to Starz’ “Fear Fest,” a Halloween weekend marathon of horror titles.

The Latest L.A. Vampire

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It would be easy to dismiss Moonlight as yet another vampire trying to get along in the modern world TV series. It’s already being compared, sight unseen, to Angel. Actually, Moonlight’s themes are more closely aligned to the Beauty and the Beast mythos, with a touch of pre-noir private eye thrown in for luck.

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True, Mick St. John (Alex O’Loughlin) is a vampire by circumstance and a private investigator by lifestyle choice. And, yeah, he’s a do-gooder by nature, defying the conventions of vampirism to help the living. He even eschews fresh blood, opting instead for “retail” blood, which he procures from a mortal dealer named Guillermo (Jacob Vargas) who works in the LA County morgue. (How Guillermo knows St. John’s secret isn’t revealed in the pilot episode.)

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What we do know is that Mick St. John is eternally 30 years old, thanks to being bitten 60 years ago by his bride, Coraline, who apparently didn’t think the fact she was a vampire was something they should have discussed before getting married. Maybe thinking it might save their troubled marriage, Coraline, in 1982, found a mortal child who could become their “daughter.” That didn’t set well with Mick, so he saved the child and torched the wife.

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The child, Beth Turner (Sophia Miles) is grown now, and is an Internet investigative reporter (they have those?). Of course, she’s blonde, ambitious and quick on her feet, even though she works for a tabloid website. When a series of vampire-style murders plague L.A., Mick finds himself suddenly reconnected with Beth. Mick has been assigned by vampire czar Josef Konstantin (Jason Dohring) to get to the bottom of this, and Beth, self-proclaimed media whore that she is, wants that perfect headline.

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It sounds very campy, and it is — there are the obligatory shots of the brooding hero, perched on a nighttime rooftop, long black coat lapping about him. There’s also a fair amount of satire. Josef, the 600-year-old vampire, comes off more like a playboy CEO than an evil lord of the undead. In the vampire underworld of Los Angeles, it’s all about business and living the good life. Moonlight manages to make the vampire clichés work — in fact, it turns them on their ear.

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It’s all very silly, but it’s just clever enough for a Friday night at home. With the popular chick flick inanities of Ghost Whisperer as a lead-in, Moonlight may have a chance to develop its storyline.