onlinejournal kultur & geschlecht #8 (2011) 1 Bacon Re-Viewing The Lost Boys People are Strange: Re-Viewing The Lost Boys Simon Bacon “Sleep all day. Party all night. Never grow old. Never die. 1 It’s fun to be a vampire.” “Why can't you fly now, mother? ” “Because I am grown up, dearest. When people grow up they forget the way. ” “Why do they forget the way? ” “Because they are no longer gay and innocent and heartless. It is only the gay and 2 innocent and heartless who can fly.” Introduction The Lost Boys is like all seminal films – you may love or you may hate it but you cannot overlook it. Though largely regarded as a touchstone of 1980’s films and successful both now and on its release, theorists have given it a 1 Joel Schumacher, The Lost Boys, Warner Brothers, 1987. 2 Barrie, J.M.: Peter Pan, (Peter and Wendy) . London 1911, Available at http://www.gutenberg.org, 129. (03.06.2011). onlinejournal kultur & geschlecht #8 (2011) 2 Bacon Re-Viewing The Lost Boys rough ride. Nina Auerbach sees it as a “domestication” of the once virile vampire, and the alternatives it offers as being “fragile as a drug trip.” 3 The ‘lost boys’ themselves become nothing more than “branded creatures” 4 which Laurence Rickels emphasizes by labelling them the “Californian syn- dication of Peter Pan.” 5 Erik Butler's recent Metamorphosis of the Vampire sees them as a “Reagan era complaint about the broken American family,” 6 and Mary Hallab, in Vampire God , finds them both “annoying” and “bratty.” 7 This article will not constitute an apology or a defence for the film but rather, by placing in context both in its time and the wider vampire film genre, show that whether you adore or abhor it you cannot and should not ignore it. To do this I shall first consider the film in relation to the veritable explosion of vampire films that happened in the late 70’s and early 90’s, and in particular with regard to what can be called the “teen-vamp” films from 1985-1989. The study of the film itself within this comparison will then highlight particular themes which I shall then consider in further depth showing how they have been utilised in more recent vampire representations. This will focus on the way that The Lost Boys, encapsulated, and/or developed the motifs of youth, family, consumption/consumerism, sexuality/gender, and the reflexivity of the snappy one-liner that form the basis of all current ‘vampy-goodness’ from Buffy the Vampire Slayer to True Blood and from The Vampire Diaries to The Twilight Saga. 3 Auerbach, Nina: Our Vampires, Ourselves. Chicago 1995, p. 168. 4 Auerbach, Nina: “The Bloodtide Documentary,” Blade , DVD, prod. Susan Ricketts, New Line Home Video, 1998. 5 Rickels, Laurence A.: The Vampire Lectures. Minneapolis 1995, p. 211. 6 Butler, Erik: Metamorphosis of the Vampire in Literature and Film: Cultural Transformations in Europe, 1732-1933: Rochester 2010, p. 182. 7 Hallab, Mary Y.: Vampire God: The Allure of the Undead in Western Culture. Albany 2009, 133 & 5 respectively. onlinejournal kultur & geschlecht #8 (2011) 3 Bacon Re-Viewing The Lost Boys Lost and Found “One thing about living in Santa Carla 8 I never could stomach … all the damn vampires” . Before discussing The Lost Boys (1987) itself, it is worthwhile noting the films that preceded it to see how they might have framed the creation of Joel Schumacher’s ‘boys that never grew up.’ Stacey Abbott cites the seventies as the “vampire decade,” consequently observing “this period of radical change removed the vampire from its mythic representation, reinvented it as a modern vampire, and relocated it to America.” 9 This is partially true, as, indeed, this period did see Rabid (1977) by David Cronenberg and Martin (1977) by George Romero which utilise a very non-mythical reading of the vampire, with the medicalised body going out of control in Cronenberg (pos- sibly the only case of a vagina dentata in someone’s armpit) and a psycho- logical coming of age story, or the real-life trials and tribulations of being a vampire, in Romero’s offering. What they both do, though, is place the vam- pire in the here and now of the modern world and specifically North America. However, the decade ended with the Vampire King most definitely “biting back” and appearing in three films, all released in 1979. Two of these were effectively remakes of the original classics of the genre: with Werner Her- zog’s Nosferatu: The Vampyre reprising F.W. Murnau’s Nosferatu: A Sym- phony of Horror (1922), and John Badham’s Dracula utilising the Balderston- Dean stage play that inspired Tod Browning’s Dracula (1931). Whilst adding a certain sense of increasing “sympathy for the devil” the revenant is still an evil from the Old World – a theme reproduced in television adaptation of Stephen Kings Salem’s Lot which came out the same year, – and is largely a supernatural being from the past. It is only Stan Dragoti’s Love at First Bite comedy that saw the Count firmly in the here and now. Using the kind of 8 This is the final line from Grandpa in The Lost Boys , spoken after seemingly spending the entire film oblivious to all the vampires around him. 9 Abbott, Stacey: Celluloid Vampires: Life After Death in the Modern World . Austin 2007, p. 75. onlinejournal kultur & geschlecht #8 (2011) 4 Bacon Re-Viewing The Lost Boys inter-textual knowledge that informs Schumacher’s later film, we find Dracula (George Hamilton) in his Transylvanian castle but under Communist rule. Unable to cope with being forced to share his living quarters with his fellow “comrades”, he decides to move with his trusty aide Renfield to New York, where he falls in love with an American city-girl (Susan St. James). 10 The three films seem to provide an appropriate swan song marking the change from the Old World to the New, for none of the aristocratic vampires can happily exist within the new worlds that they find themselves in: Klaus Kins- ki’s Orlok from Nosferatu disappears into the ether, and both Draculas, Frank Langella from Badham’s version and Hamilton from Dragoti’s, fly off to other climes. In the 1980’s it was not enough for the undead to just live forever, they also had to be forever young. Before launching into the “re-finding” of the Never- land of eternal youth in the explosion of teen-vamp movies of the mid to late 80’s there is one earlier film of particular note that provides a bridge between all that went before, whilst intimating many of the concerns of the all- consuming adolescence that was to follow. Tony Scott’s 1983 achingly sty- lish The Hunger , based on Whitley Strieber’s 1981 novel of the same name, from its opening shots of glam Goth group Bauhaus singing “Bela Lugosi’s dead”, and it quickly establishes both Scott’s credentials as a pop video di- rector as well as the up-to-the-minute fashion sense of the contemporary vampire. The undead leads, played by Catherine Deneuve as Miriam, and David Bowie as John Blaylock, exude an effortless style as well as a dan- gerous and alluring sexuality. Though often cited as a warning against AIDS and sexual promiscuity it is more about the continuing medicalisation and humanisation of the vampire, as Miriam is shown not as a creature of the night but as a separate evolutionary species whose blood may unlock the secrets of life and death, which is part of attraction to the brilliant young 10 There is of course some fairly clumsy digs at Cold War Communism within the film but curiously equally balanced with pithy comments on the self-obsessed nature of capitalism, too. onlinejournal kultur & geschlecht #8 (2011) 5 Bacon Re-Viewing The Lost Boys scientist, Sarah, played by Susan Sarandon. 11 Miriam is the species that has lived since the times of Ancient Egypt, imparting her “dark gift” upon a succession of lovers, who fulfil the Renfield role but with benefits; who be- come her companions through her journey through eternity. However, Sa- rah, whilst initially rejecting this, unlike in the novel, ultimately ends up taking Miriam’s place, signalling that a new order has indeed gained the ascendan- cy. Sarah might not be a teenager but she is a sign of things to come where the old order is no longer desired or required, and its cool to be undead. Finding Neverland “But of course he cared very much; and he was so full of wrath against grown-ups, who, as usual, were spoiling everything, that as soon as he got inside his tree he breathed intentionally quick short breaths at the rate of about five to a second. He did this because there is a saying in the Neverland that, every time you breathe, a 12 grown-up dies; and Peter was killing them off vindictively as fast as possible.” From 1985 to 1989 there were six major teen-vamp films released in Ameri- ca, an unprecedented amount either before or since: Fright Night (Holland, 1985), Once Bitten (Storm, 1985), Vamp (Wenk, 1986), The Lost Boys (Schumacher, 1987), Near Dark (Bigelow, 1987), My Best Friend is a Vam- pire (Huston, 1987), and Fright Night II (Wallace, 1989). In all the varying twists and turns of plots in the 80’s teen-vamp films they are all about self- absorbed adults and, consequently, teenagers doing it for themselves.