A movie for every day of the year – a good one
Vlad the Impaler becomes ruler of Wallachia for third time, 1476
On this day in 1476, Vlad III, Prince of Wallachia became ruler of Wallachia for the third time. Because he was the son of Vlad II – who had become a member of the chivalric Order of the Dragon (Drache in German, Dracul in Romanian) in 1431 – Vlad III carried the patronymic Dracula, son of Dracul (he signed himself Wladislaus Dragwlya). Vlad III spent a good deal of his life fighting to assert his claim over Wallachia, though his first rule of the area was established by the Ottomans – Vlad III had been brought up in the Sultan’s court as hostages, to ensure his father’s loyalty to the Ottoman empire – who installed him as a puppet ruler to prevent encroachment by the Hungarians. This failed. Vlad III’s second reign came about as a result of his alliance with the Hungarians against the Ottomans. He established strict rule over his new country by impaling any who stood in his way and built up a fiercely loyal special guard to protect him against assassination. Vlad III’s second period of rule was marked out by relentless conflict with the Ottomans who maintained that Wallachia was part of their Empire. To which Vlad responded by impaling any Ottoman soldiers he found on his territory – the higher the rank, the longer the stake. This made Vlad III a popular figure in Western Europe, which was constantly worried about Ottoman plans for aggrandisement. However, Vlad III was finally routed by his own brother, Radu the Handsome, on behalf of the Ottomans, in alliance with Vlad’s own nobility. Vlad III seems to have spent the years following his defeat as a prisoner in Hungary. In 1475 Radu died and Vlad immediately declared himself voivode (military ruler) of Wallachia. After only two months of uneasy rule Vlad III was assassinated. No one is sure exactly when, or where, or by whom. Exactly how cruel Vlad III was, and how many of the tales of his evil deeds were political spin put about by an enemy is hard to tell, though there are stories of babies being roasted and fed to their own mothers, and of 20,000 corpses impaled on the outskirts of Targoviste, Vlad’s capital, a sight which is said to have sickened the Sultan, himself a notable impaler.
Byzantium (2013, dir: Neil Jordan)
Since Bram Stoker borrowed the Dracula name for his 1897 novel, the character of the vampire has almost inevitably been gothic in character – favouring the night, pale, sickly of aspect, dressed in sombre colours, sexy, voracious. Bucking that trend was the very modern, urban IKEA version found in Let the Right One In, the most influential vampire film of recent years/decades. Neil Jordan’s film is a beautiful collision of the two – on the one hand we have buxom gothic vamp Clara, played by Gemma Arterton. On the other there’s wispy Eleanor, played by Saoirse Ronan, who only drinks blood when she absolutely has to. Are they sisters? Mother and daughter? Or eternal friends? The answer to that question is more or less the plot of the film. And while we’re following it we’re being given an object lesson in atmospherics by Neil Jordan, whose last dabble in this area was 1994’s Interview with the Vampire. This is the better film, more sure of itself, less caught up in the machinations of stars and their agents. Thematically, though it’s closer to Jordan’s 1984 fairytale excursion The Company of Wolves – with the exploitation of women and class as a factor in daily (and eternal) life both ringing bells. As you might expect with a screenplay for The Company of Wolves by Angela Carter and for Byzantium by Moira Buffini, both feminists (though Buffini’s feminism is more oblique than Carter’s). Taking notes from reactions to The Company of Wolves, perhaps, Jordan keeps his themes in the background, leaving front of curtain to the actors and production designers. And he is rewarded royally – it’s difficult to imagine better casting than Arterton and Ronan. Then there’s Caleb Landry Jones as a young man with haemophilia, Jonny Lee Miller as an utter bounder, Tom Hollander as a dithery teacher who believes Arterton might be interested in him (she is, Tom, just not in the way that you think). As for Byzantium itself, a rundown seaside hotel somewhere on the South Coast of England, it’s a glorious rotten bundle of a place complete with an old cathode ray TV on which the girls watch old films – a Hammer horror vampire flick at one point. Very homely.
- Fabulous production design by Simon Elliott
- Really top class casting
- Shame and Place Beyond the Pines cinematographer Sean Bobbit
- Women as the vampires, not the victims
© Steve Morrissey 2013