Underworld

We re-watched Underworld and Underworld Evolution the other day; I really do like those movies. It was quite funny in that for a few minutes there I had to make the effort to remember that we were watching this, and not Blade. Kate Beckinsdale is quite good; Scott Speedman is quite adorable. Quite adorable.

The thing that struck me this time was the atemporal and aspatial nature of the duo. Yes, there is the date at the start of Evolution, where you find out about Williams and Marcus; there is the whole, rather confused thing about how long the war has been going on, how long Selene has been a vampire, and exactly when Alexander Corvinus lived… but it doesn’t give a date for the movie, and it’s both sufficiently old-fashioned – the mansion, for example, and the very noir feel – as well as sufficiently futuristic – the clothes, guns, lights – that atemporal is the only way to describe it.

The cityscape of the first movie is unrecognisable: it could be European or American. Add in the rural landscape of the second, which is essentially mythical Transylvania (or your basic Eastern European setting), and it quite confuses the setting utterly – certainly more European than American, which is entertaining in contrast to the predominance of Yank accents. I liked this aspect; I think it worked better than trying to ground it somewhere more concretely. It sets the story loose, lets it play fast and loose with geography and makes it more dramatic.

I was also reminded of quite how attractive the movies are to watch. Lovely shadows, stark corners, gloomy backgrounds… delightful.

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