Time to put away the toys, the comics, and even the big WWII history book at the old multiplex for this week’s new (but a tad old) release. I say “old” since it springs from a literary classic, one that has inspired so many cinematic adaptations (actually it has left its “mark” on all manner of media). I seem to recall its main character as a possible game show trivia answer as to which fictitious creation has been played by the greatest number of actors (he’s close behind Sherlock Holmes, I believe). So, what’s the “hook” with this? It’s not just a “straight” retelling. No, the filmmakers have taken one chapter of the original novel and have expanded it into a feature film since it’s often just a minute or two in most versions. And so now we’ll get the full “scoop” of how that “king of the vampires”, Dracula. insured that this was THE LAST VOYAGE OF THE DEMETER.
This terror tale takes us back almost to the beginning of the last century, 1897. as we follow a speeding caravan through a twisty mountain pass on their way to a nearby seaport. That’s where the good ship Demeter is preparing to depart. Captain Eliot (Liam Cunningham) is there with his eight-year-old grandson Toby (Woody Norman) to assign the First Mate Wojchek (David Dastmalchian) the task of acquiring more crew members for the journey to London. Several old salts line up for the chance, but none are more eager than Cambridge grad, Dr. Clemens (Corey Hawkins). Wojchek rejects him (“those smooth hands…he’s not been working on the seas”). Then the wagons arrive via that caravan with massive wooden crates that “spook” some recruits. That and a near accident with Toby. prompts Eliot to hire Clemens. The young lad bonds with the doc as they meet the truly “motley” crew, who have dreams of a big bonus if they arrive in England earlier than agreed upon. Ah, but don’t spend that money yet. As the sun sets, strange things occur. The livestock perish, not from rabies but from something that has ripped them apart. When Clements explores the nearby cargo hold, he finds that the crates are filled mostly with dirt. But that’s not as surprising as the discovery of a near-comatose young woman, Ann (Ainsling Franciosi). Clemons attempts to cleanse her diseased blood through several transfusions. But will this weaken him and his shipmates as they discover that the animals were merely appetizers for the night creature that walks the deck under the moonlight? Can they possibly destroy him before his evil overtakes all of London?
For a vampire flick to truly soar (on bat-wings,’ natch) it requires a formidable force for the light, and here, rather than the ship’s captain, it’s the charismatic Hawkins as Clemens. From his first scenes, gambling near the dock, he projects a fierce, steely intelligence as the doctor fighting ignorance on all fronts. But he also has a real charm and warmth, whether bonding with young Toby (almost like a little brother) to his concern for the tragic Anna. Once she’s regaining her strength, Franciosi proves to be a great ally to Clemens as she pushes past her fears and channels her anger over being her village’s “sacrifice offering” to a monster. Cunningham exudes the proper gravitas as Captain Eliot while giving us a glimpse of his desire to be done with sea life. His weary eyes only brighten when he views his beloved offspring. But his other “ship son” is the surly Dastmalchian as the tough, cagey, and ever-alert Wojchek. Perhaps the most colorful of the crew is the entertaining Jon Jon Briones as the ship’s cook whose zealotry and fanaticism are almost as much a danger as the shadowy predator played with sneering animal savagery by Javier Botet.
As I mentioned earlier, screenwriters Bragi F. Schut and Zak Olkewicz have expanded on the “Captian’s Log” chapter of Bram Stoker’s novel. And they “flesh it out” with great imagination, making their crew more than just a transport for the book’s title character. They also do well with tough tasks as they create suspense even though we’re aware of the outcome, much like prequels in an ongoing movie franchise. Along the way they make the usual vampire story tropes fresh, especially in the sequences involving exposure to the sun. Best of all may be their take on the count himself. He has no need to be “wrapped in human skin”, no seducing or deceiving as he appears as a hellish “bat demon” (with perhaps a hint of the classic NOSFERATU vibe), who blends into the shadows before striking like the speed of a cobra. And be warned, no one is safe from his insatiable thirst. Kudos must also go to the costumers and art directors for transporting us back to the turn of that century and making us feel as though we’re on that grimy “working boat”. Director Andre Overdal gives the story a real sense of urgency in the opening port scenes while creating a heavy tone of impending doom. The mood on deck combines the beauty of the pounding waves with eerie foreboding, especially in the cargo hold as the crates become objects of menace. Unfortunately, after we’ve seen several “meals”, the pace slackens and the film’s focus softens (perhaps tighter editing would help). Still, the final showdown is impressive, though the epilogue seems out of sync with the rest of Stoker’s epic. But fans of the horror classics will enjoy this expansion, though the flood of gore isn’t washed away by the sea foam splashed up by THE LAST VOYAGE OF THE DEMETER.
3 out of 4
THE LAST VOYAGE OF THE DEMETER is now playing in theatres everywhere
