In the midst of the onslaught of “creature feature” films of the mid to late 80s, with a seemingly intense focus on werewolves and vampires as a way of utilizing cutting edge visual effects and showcasing the talents of rising creatives, we were treated to some mainstays whose impact on film is still felt to this day. An American Werewolf in London, Fright Night, The Howling. 1987 was a year that was particularly vampiric, though, with The Lost Boys taking most of the fame and glory and resulting in many skipping right past a wonderful addition to the genre in the now cult classic film, Near Dark.
Directed by Kathryn Bigelow in an outstanding sophomore feature outing, and her first solo directorial gig, the film manages to successfully and effectively blend two genres usually only found melded in intentionally comedic movies, Western and horror. Utilizing vampires as a vehicle for modern outlaws and rebels, gun-slinging is traded for gnashing teeth and bloody violence that somehow feels right at home nestled amongst the rolling tumbleweeds and expansive landscapes of the Arizona desert. With incredible performances from the two leads, Adrian Pasdar and Jenny Weight, and backed with even more powerful characters played by Bill Paxton, Lance Henrikson and everyone’s favorite chameleon woman, Jenette Goldstein, Near Dark may not have gotten the love it deserved initially, but it has grown to find its place amongst the stars in the years since.
While the plot can be a bit thin at times, with the opening sequence feeling a tad flimsy as an inciting incident and the finale depending upon a rather idealized resolution that seems more rooted in fantasy from the source material of Bram Stoker’s Dracula than science or realism, the bold deviations from expected vampire lore and the stunning practical effects on display make the film stand on its own as unique, frightening, and somehow endearing. Touching on the ties that bind us to family, the age-old bond of son and father figure, and the power of love even across boundaries of humanity, the main characters are effortlessly relatable and keep you hooked into the story for the entire runtime.
And even though he’s technically an irredeemable villain, and even Bigelow herself referred to him as a heartless “perfect vampire” with no remorse, I can’t help but have a soft spot for Severen. Rest in peace, Bill Paxton.
Though she faced intense pressure from production staff, in spite of the project being “James Cameron adjacent,” and with threats of replacement should she fail or falter, Bigelow managed to pull off something most thought would be impossible for her, and showed the world just what she was capable of doing. With Near Dark proving to be a feat of her skill and vision, she went on to direct some major staples and Academy Award recognized achievements in film such as Zero Dark Thirty, Blue Steel, Point Break and The Hurt Locker, and Bigelow’s hard work is a testament to how much a woman can accomplish behind the camera in a variety of film genres and styles. She’s an inspiration to us all for her indelible style and dedication to the craft, and a groundbreaker who blazed a path for women everywhere to follow in her footsteps from humble beginnings to grand prestige.
Near Dark is a wonderful film, both for what it is and what it stands for, as it represents a woman’s strength as a director and a writer, and it breaks the mold of what a vampire film can, or should, be. Ditching the sexy and rich vampire stereotype for something far more grimy and dark, and with a haunting and one of a kind score from Tangerine Dream, it’s a film that has all but earned its cult status and continues to find new fans every day.
Myself included.
