Film reviews

In a de-saturated night shot as though infused with the subtle blue of a frightened moon and highlighted with the occasional splatter of lightning, the camera pans to a slim figure negligently hunched on a ledge, her figure sheathed in tight black leather, a long black jacket falling in folds around her and wicked platform boots adding a solid but dangerous touch.

This is none other than Selene, the hauntingly beautiful vampiress played by Kate Beckinsale in Underworld. As a Death-Dealer, Selene’s existence is defined by her dedicated hatred of the Lycans (werewolves). The war between the elegant and elite vampires and the more peasant-like and muscularly powerful Lycans has been raging for centuries, and Selene herself, “turned” 600 odd years ago, can only contemplate with grimness the lack of purpose her existence will have once all the Lycans are dead.

The film moves swiftly to its first battle, a surprise attack by the werewolves in a subway, in plain sight of the humans who are inadvertently caught up in this gangland-style conflict. Selene, in her cool and unswerving response to the attack, pursues the Lycans through the crowd, through a train, and through dark and narrow tunnels, only to learn that the werewolves may not be as close to defeat as she had thought. It seems there is a massed crowd of werewolves somewhere in the subway, plotting their own agenda, and the leader of the Lycans, one Lucian (presumed dead for centuries, reported killed by the vampire Kraven), appears to be still alive, which brings into question the veracity of Kraven, who had left in charge of the clan while the most powerful vampire of all, Viktor, lies skeletally at rest in an ornate coffin awaiting the time of his awakening.

Events move forward rapidly. The Lycans have a specific plan, and it appears to centre on a human named Michael Corvin, to whom Selene is increasingly drawn. His lineage provides the clue to what is to come, and in the memories of the werewolf Lucian lies the secret of why the ferocity of the battle between these two immortal species has become so all-important. Love, death, pride, purity of blood, implacable arrogance and an unswerving desire for vengeance coalesce like invisible strands woven together in darkness. Spoiler Not even Michael’s being bitten by a werewolf can prevent the attraction between Michael and Selene from deepening. In the wake of a bloody assassination of Amelia (one of the three Elders of the vampires), Selene and Michael must flee for their lives as Selene gradually learns that everything she’s been told is a lie, and that the only way to save the man she loves from a remorseless and deadly enemy is to help Michael become a hybrid that the world has never before seen.

In terms of plot and character depth, Underworld is predictable and owes much to previous films such as Blade, Matrix and Night of the Living Dead. Yet it is not merely defined by these influences. It has a stunning look and feel, something very dark and almost colourless in which the occasional vivid colour (such as red) gleams in a powerful accent note, the whole shot through with a sexy elegance combined with a powerful gritty ambience. The scenes were shot in Budapest, and reflect the grandeur and decay of that city most beautifully. Tony Pierce-Roberts, the cinematographer, gives both a romantic and sharp-edged quality to the film.

The casting is excellent. Kate Beckinsale as Selene could not be bettered – her ebony-and-ivory beauty conveys both power and delicacy, and her cool articulation is aimed like deadly bullets at the listener. She creates a character whose strength seems to transcend gender, and whose emotional aloofness never makes her less than sympathetic. Scott Speedman as Michael Corvin is not called upon to do much other than seduce female viewers with his sweetly sensuous face and well-defined body. Bill Nighy as the awakened vampire Viktor is outstanding and terrifying, shrewdly conveying both arrogance and manipulative charm in a way that suggests a vulnerability that his character certainly does not have. Michael Sheen, one of Britain’s best classical actors, adds significant depth to the pivotal role of the tormented Lucian. And the double-dealing Kraven is very nicely played by Shane Brolly. While none of the actors are “stretched”, they do add some complexity to the otherwise cardboard cut-out characters. The film is clearly designed with comic books or graphic novels in mind, and that simplicity and lack of subtlety could have made Underworld a lot less interesting. But the consistently high standard of acting and the beautiful cinematography lift the film to a higher level than it might otherwise have attained. An effective score, utilising both an insistent rhythmic beat and – in the romantic scenes – a hauntingly beautiful series of chords seguing into each other adds an extra quality of the unique to the film.

Reaction to the film is often mixed – some love it, some hate it. I find it quite evocative visually, and if one can experience the film without the expectation of a subtle and sophisticated storyline, it’s fascinating viewing. It is certainly among the better vampire-werewolf films made.