Already familiar with werewolves (The Company of Wolves) and ghosts (High Spirits), the supernatural was part of the natural for Neil Jordan. The vampire also had his favors with Interview with the Vampirescripted in the circumstances by Anne Rice…or the author of the eponymous novel that he adapted. A pioneering work in the “romantic” register, swapping the costume of the primal blood drinker for that of the tormented, conscious as he is of having been dispossessed of his humanity.
Following in the footsteps of the original book, the feature film thus adopts the point of view of Louis de Pointe du Lac, a vampire of his state two centuries old, evoking his life with a young journalist: an atypical interview for a story about being just as much, the admissible skepticism of Daniel Malloy having quickly given way to a lively fascination. Because Louis, under the rule of this funny epicurean that is Lestat, moreover animated by slightly chaotic tendencies, will venture into the “big night” in an infinitely tragic trajectory: from the mourning of the loved one to that of his own mortality, all it took was a pair of thirsty fangs and a damaged will.
Interview with the Vampire is rather consistent with our memories: always captivating and capitalizing as best as possible on its gleaming star duo, Brad Pitt et Tom Cruisehowever without them really popping the screen. But their osmosis is measured by the contrast defining the immortal couple that they embody: Louis is like ice, cold and disillusioned, while Lestat burns “life” in a limitless quest for pleasure (he will moreover literally), devoid of guilt. A sum of contrary dualities bringing its share of debates and confrontations: a volcanic situation which will briefly calm down in Claudia’s wake, until the final breaking point.
The second act, largely relocated to Paris, disappoints: with the exception of this chilling theatrical performance of “realism”, the meeting with Armand and his cohort of the damned comes to nothing thanks to the procrastination of Louis and the incongruous threats. Although the outcome reserved for Claudia and Madeleine (dispatched in two strokes of a spoon) is terribly striking, the tension will only be partially exploited and Louis’ lightning revenge, too easy in the circumstances, will be a damp squib.
Armand finally rejected, Louis will return, lonely, to his native Louisiana: past and present will thus end up coming together and Daniel, deeply subjugated, will find nothing better than to beg him to transform him. A desire somewhat beyond us, the constant effect of ambiguity sought by Jordan and Rice appearing forced here: or yet another nail in the coffin of a second part of a feature film decidedly below the rest. And it is not Lestat who will change anything, the final jolt of Interview with the Vampire paradoxically lacking bite.
