In several scenes of the series interview with a VampireAMC’s Louis (Jacob Anderson) admits he’s a “good liar”. He does this in front of Daniel Molloy (Eric Bogosian), to whom he states that their first conversation “was a feverish dream told to an idiot”.
Years before this meeting, he yells at Lestat (Sam Reid) in the face. “I had to lie to survive,” he explains. Finally, in front of his exquisite vampire daughter Claudia (Bailey Bass), to whom he admits that “very rarely did he manage to be honest.”
good part of the show interview with a Vampire it is based on an unsettling and dark duplicity that works at some points. Nonetheless, most of the time, it falls into the conflicted terrain between black comedy and twisted history..
Anne Rice’s book, and its first film version, bet on darkness and dense drama. But the AMC series chooses different places. One of them is to show that the well-known narrative has always been false. “Misconception,” Louis chuckles indulgently. But now I want to tell the truth.
New secrets to be revealed in the series interview with a Vampire
Really? In reality, a story that has become a gothic icon is a pale shadow of what really happened. Louis was never a suffering being, crushed by morality, love and horror.
Instead, he was a club and brothel owner who found a place in New Orleans for what he wanted. “Even at the cost of my soul,” says this vicious new Louis, exhausted but not entirely unhappy. In fact, one of the most confusing moments of the script is the transformation of the character into an eternal duality.
The series roughly follows the same story as the 1970s novel of the same name.. The vampire decides to tell his story through the ages to a journalist. Only this time he does it from Dubai, moving forward in time almost a century and giving Louis – the narrator and again the protagonist – a New Orleans full of glitz and decadence.
As if that wasn’t enough interview with a Vampire it also explores the character’s mind from a whole new perspective. Which results in a far-fetched existential dilemma about good, evil, and why an immortal cares about such nuances of human life.
A vampire who just discovered the taste of blood
Halfway between the desperate appetites he’s trying to curb, Louis also has a proverbial desire to savor every one of them. How to balance such a dilemma? The series connects him to his sense of existence—“I need the fullness of anguish,” he says—and maintains a curious discourse about the inexpressible.
What lurks in the darkness of the human heart, always close to awakening in all its strange power? interview with a Vampire The question is raised repeatedly. But the answer is crumbling a simple look at the possibility of a monster that lives in an ordinary person. In fact, Louis is no longer a guilt-ridden vampire. In the new millennium version, the character is ready to succumb to temptation and enjoy it.
This may seem like an insignificant detail in all the significant changes that the original story goes through, but it is important enough to change its essence. This newborn vampire, who also openly admits his sexuality, does not seek redemption and is not afraid of bloodlust.
Actually, all hint of the book’s homoerotic charge disappears completely. Louis knows that an inexpressible and unstoppable desire beats inside him. Beyond the casino he runs, the women he can enjoy, and the family he has to belong to, there is drive.
in the series interview with a VampireLouis wants freedom. He will find her in a strange, seductive and dangerous figure who, he confesses, “haunted him from the shadows.” But for the vampire, this was not just an attack and immortality at the whim of an inexplicable creature. It was about love, the relentless search for fulfillment. Of course, I also want to. Angry and stormy, which Reed’s Lestat would call out to Louis almost immediately.
Painful conflicts of the night and their desires
By the way, Lestat is a born seducer. But without the context of mystery, darkness or its predatory nature, the character enters a strange space. Her relationship with Louis is more erotic than two beings isolated by a common nature. The sexual tension of the book—and Neil Jordan’s film—fades out in favor of a look at the urge to desire.
interview with a Vampire equates murder with sexual desire, something that a couple of vampires share in a recurring and increasingly violent way. Louis staggers, trying to resist the bloodlust, but Lestat is out of reach and fiercely attractive. At least that is how the narrative presents the bond between the two immortals, which ranges from a turbulent relationship to a desperate emotional connection.
However, the series does not reveal the true meaning of the mystery – whatever it may be – that binds Louis and Lestat. It could be longing, or the fact that a newborn vampire finally finds solace in her creator. “You could be anyone in New Orleans of my time, except black and gay,” Louis says, turning the plot into a struggle of little unfinished efforts.
According to the plot of the series interview with a Vampire, murder is an act of absolute surrender, the last sacrifice and the loss of humanity. In the production, this is shown as a fragrant fall into hell. A bewildered and complete look at unknown places of temptation. Does the new formula work? He does this to the point where he creates a new conflict, which, after all, is the strangest moment in history without a real person.
Little daughter in the series interview with a Vampire
Of course, the arrival of Claudia is the most controversial moment in the story. As in the origin story, she turns out to be at Lestat’s whim. But, unlike the previous version, she is not a girl, but a teenager who profoundly changes the very meaning of her existence.
What is Claudia’s conflict, immortalized as a young woman? What will she have to deal with in the future if nothing limits or restricts her? For now, the series is built around the core fact of unrequited love, female maturity, and what that could mean for Lestat and Louis. But all the harrowing and brutal complexity of the story from which it comes is vanished in favor of an unknown confrontation with the nature of the vampire.
Refusal Interview with a Vampire how is the production? There are dazzling moments in the series, and some even intriguing ones. However, as a nod to the story that preceded it, it is only a copy without much stimulus from a more complex narrative. With an extravagant and unnecessary sense of humor, over-the-top recreations of immortality, and characters without much depth, the script tends towards chaos. Worse, to the loss of sense of the perverse conflict that defined Rice’s work. Perhaps his biggest problem.
