In April 1995, a friend and I attended a double feature. The lineup included Terry Gilliam’s 12 Monkeys and Kathryn Bigelow’s somewhat overlooked film, Strange Days. While Gilliam was already a favorite, Bigelow’s work made a significant impact that day, prompting me to explore her earlier films. Eight years prior to Strange Days, Near Dark (Natten har sitt Pris, as the film was called in Swedish) premiered. Despite its low budget, Bigelow effectively maximized resources.
Caleb (Adrian Pasdar) meets Mae (Jenny Wright), and a mutual attraction quickly develops. Following an intense kiss, Mae abruptly leaves, pursued by Caleb. He soon discovers he is bleeding from the neck and experiences a burning sensation as the sun rises. Caleb gradually realizes he has become a vampire, dependent on blood for survival. Mae is part of a nomadic group of vampires who reluctantly accept him. Dangers soon emerge, and survival requires a desperate solution.
One of the most compelling aspects of Near Dark is its subversion of vampire tropes. The vampires are portrayed not as elegant or intelligent creatures, but rather as a band of ruthless individuals traversing the American landscape in search of victims.
The year before Near Dark, James Cameron directed Aliens, and three actors from that film appear in prominent roles here (interesting side note: Bigelow and Cameron were married at the time): Lance Henriksen, Bill Paxton, and Jeanette Goldstein. Each delivers an engaging performance, with Bill Paxton’s portrayal of the unhinged Severen being particularly memorable. A bar scene involving Severen stands out as both disturbing and darkly humorous. The special effects are well-executed and stylish, effectively masking the limitations of the budget.
However, Near Dark does exhibit some signs of age. The initial attraction between Caleb and Mae can feel somewhat contrived. While Mae’s vampiric nature might explain her initial interest, her subsequent romantic involvement with Caleb seems improbable. The film also employs a deliberate pacing, and Caleb’s delayed understanding of his situation can become frustrating for the viewer, who is often several steps ahead. Adrian Pasdar’s portrayal of Caleb lacks a certain charisma, making it difficult to fully invest in his character. Furthermore, the resolution involving a seemingly facile cure for vampirism diminishes the overall tension of the narrative.
Kudos to Studio S Entertainment for continuing to release classic films in respectable Blu-ray editions. Despite being roughly 35 years old and produced on a modest budget, Near Dark boasts a sharp picture and a well-balanced sound mix. While the supplementary material may not be as extensive as in other releases from the studio, the nearly hour-long documentary provides valuable behind-the-scenes insights. The director’s commentary track is also a worthwhile addition.
In conclusion, Near Dark remains a compelling and distinctive film, and this Blu-ray edition is a worthwhile upgrade, despite its imperfections.
