This “Limited Edition” 4K Ultra HD release from Arrow Video is currently available for purchase.
Since the late 1970s. writer/director Abel Ferrara has been making provocative and challenging indie films that have earned him a devoted cult following. For the first two decades of his career, he specialized in genre pictures like The Driller Killer, Ms. 45 and Body Snatchers, while also tackling the notable crime dramas King of New York and Bad Lieutenant. The Addiction is a vampire movie. But it is one that is really about, as the title suggests, addiction and the inhumane ways that we treat others in order to fulfill our darker instincts. Despite being made on a shoestring budget, it features a wonderful cast and is unexpectedly compelling.
Back in 2018, Arrow Video released a Blu-ray containing a greatly improved image (which, if I am correct, came from a 4K scan of the original camera negative). Now, the full 4K version is arriving for purchase on the format (no Blu-ray is included). It looks absolutely tremendous. If you’re familiar with the title, you’ll know that it was shot in black and white. There is a very small amount of natural film grain here and there that isn’t distracting at all, and the majority of the film simply looks stunning. The blacks are inky and the use of light and shadow is striking and powerful. This may be a low-budget independent film, but you wouldn’t know that based on the image being presented. It’s that good.
Kathleen Conklin (Lili Taylor) is a New York-based philosophy student. Many of her classes address the cruelty of our species, and the lead expresses her shock and anger about human behavior to best friend Jena (Edie Falco). One night while walking home, she is taken aside and bitten by vampire Casanova (Annabella Sciorra). Conklin immediately turns and begins desiring the taste of blood. The main character is soon using syringes to drain plasma from the homeless and inject it into herself. From there, she graduates to biting necks and murder. Eventually, she targets a man named Peina (Christopher Walken), who he reveals himself to be a bloodsucker. Peina starts draining Conklin and soon she is staggering around the streets desperate and even hungrier. It all leads to a nasty climax in which many are killed and Conklin is forced to reflect on herself and her actions.
As mentioned, the use of vampirism as a metaphor for drug addiction is very clear. The moral student quickly turns violent and becomes motivated only out of self-interest, hurting others as she tries to satiate her impulses. Taylor is fantastic in the part, using the metaphor to really show how unhinged an individual can become due to their addiction. Walken also makes a memorable impression as Peina, who quickly realizes that Conklin is a newbie who knows nothing of the evils of the world and can be easily taken advantage of. All of the cast are great.
And the photography stands out as well. The film was shot in real New York locations, often with locals walking in and out of frame, adding a sense of authenticity to the proceedings. The moody lighting is also striking and makes some of the grimmer moments really send a chill down the spine. There’s a lot of textures on display that you can imagine actually touching. The framing is gorgeous and there are several images, from Conklin and a vampire under steel grating, to her sprawled out on the floor of various rooms (in a state almost like drug withdrawal), that make a lasting impression. Even the lead walking around a populated New York street at night looks phenomenal.
The film does end with Conklin understanding the seriousness of her deeds and asking for forgiveness from a Catholic priest. It is somewhat abrupt. The movie closes without viewers learning more about the city’s vampire underbelly and the people within it. Of course, that’s not the point of this story, but one can help but want to know more about the other characters and how they would view the lead’s sudden change of heart. Still, this is a very interesting picture and one that holds up better than expected (I saw the movie at the Toronto International Film Festival in 1995 with an introduction from Ferrara and Taylor and haven’t seen it since).
In addition to the amazing image quality, several extras are also included. Most are from the previous 2018 release, but there is one notable new addition to this package.
The first bonus is a 2018 commentary track from the quirky Ferrara about making the movie on a low-budget. He suggests that most payment for cast and crew was deferred and admits that some of those working on the film didn’t get all that was promised to them by producers. The director also speaks about the incredible locations in New York and shooting with, well, fewer permits than he should have had (these locales add so much production value without costing anything). He goes on to note the remarkable work of the cinematographer, lighting real outdoor spaces at night to maximum effort. He also suggests the budget was so low that everyone left him alone and didn’t care or complain that he was making the movie in black-and-white. Ferrara seems like a direct and honest guy, so he’s a lot of fun to listen to.
There is also an interview with the filmmaker in which he details more tidbits about the production. Amusingly, he is questioned about the finale and some aspects that viewers may be confused by and doesn’t take kindly to the inquiry. Additionally, there is an informative video essay from a critic who details all of the feature’s positives, while noting that there are a few contradictory story elements. The piece also includes a nice overview of Ferrara’s career and some of the connections between this picture and others in his filmography. Footage of the director editing the movie is also included, as well as an image gallery and a trailer.
The new bonus is a 30-minute mini-documentary directed by Ferrara in which he talks about this film with Lili Taylor, Christopher Walken, composer Joe Delia and director of photography Ken Kelsch. It’s very informal as the Ferrara chats with the participants and the special is at its best when the performers open up about their acting process and some of the things that they’ve learned about their craft over the years.
The Addiction is a solid indie horror picture that generally stands the test of time thanks to great performances and beautiful photography. Anyone with a taste for unusual vampire films or those who enjoy the work of Ferrara will adore this release and, if they can, should pick it up in 4K Ultra HD.