Comic Book Movies 101: Blade

• 12th Mar 2011

Marvel were ahead of their time with Blade – it’s hard not to notice that, in recent years, vampire culture has become super chic. Twilight got nothin’ on Blade, though.

Arguably Marvel’s coolest character, changes made for the movie may displease longstanding fans, but I feel they had him perfectly honed for the big screen. Born in dark and dangerous circumstances, Blade’s genetic makeup as a dhampir is as much a burden as it is a blessing, even though it gives him an impressive catalogue of powers and abilities. There’s something appealing about ‘believable’ heroes – his story is logically explained (a vampire bit his mother during Blade’s birth, which is how he acquired vampire genes), it has balance (being a superhero has got to suck some of the time. They’re still human, you know), and there are some ‘ordinary’ aspects to Blade’s life – friends as well as enemies, concerns for his health.

Oh, the casting! Thank goodness such a superb character was done justice; even the movie poster oozes cool. Just look at Blade in the comics – if Wesley Snipes wasn’t 11 the first time the character appeared, you’d think he was the inspiration for him. For a character who doesn’t say much, he has a well-rounded personality; he’s smooth and menacing but the compassion he shows Dr Jensen after she is bitten in the first film reveals a softer side. He seems invincible, even though we know he isn’t – Whistler’s devised a means to combat the bloodlust that comes with being part-vampire. There’s excellent chemistry between Blade and Whistler, his gruff, wizened mentor which builds on the sensitive side of his personality. Kristofferson’s performance as the unassuming genius behind Blade’s vampire-hunting toolkit successfully evokes empathy without pity and a masculine tenderness which makes him lovable as a granddad, despite his tough exterior.

The opening sequence of Blade is one of my all-time favourites. After a flashback to our hero’s birth, you barely even notice the credits amidst the beautiful bodies writhing on the dance floor of a club. The hapless guy in an awful hat (dig that 90s fashion in this film!) brought in by one such beautiful body is busy getting rejected left, right and centre when it begins to rain blood. The lights, the music and the rapidly switching camera angles are disorientating and panic-inducing. Faces are rendered unrecognisable by the blood bare fangs, hissing and grinning. One lone figure, without a speck of blood on his all-black ass-kicking attire, manages to part this sea of vampires: guess who? Yep, Blade single-handedly takes on an entire club full of bloodsuckers and celebrates his skills with just a single arm-pump and a mouthed “yes” after an on-target shot. Achingly cool.

In the club we fleetingly encounter the first big screen nemesis Blade tackles, Deacon Frost. He’s a thoroughly modern vampire, the brains behind this new clubbing scene. Stephen Dorff is undeniably attractive in the role, with his brooding and (literally) bloodthirsty, reckless attitude. His army of vampires and familiars are ruthless, dispensable characters and they take Whistler from Blade in a very distressing scene which mercifully leaves most of it to the imagination. But ultimately they’re  no match for Blade, despite playing on his human side, manipulating his emotions, they only end up making his character seem all the more honourable.

Of course, in true comic book style, Blade takes them all down. After just the right amount of tension, the dhampir faces his competitor. There are some dubious effects as Frost heals himself even after being cut in half, but as this is a vampire flick, how convincing do you really need them to be? Even with his heightened powers, he can’t win against Blade. (Sure, he’s handsome, but he’s a bit weedy. Did anybody really think he could take on Snipes?!)

Two sequels might seem excessive on the theme of vampires, especially when Blade’s taken down the establishment. He shrugs off Jensen and we leave him in Russia, continuing to protect the human race and kick vampire ass. I, for one, am glad that’s not the last we saw of him on the silver screen.

There’s loose continuity in Blade II as he goes to find Whistler. It ruins the impact of the first film somewhat, as Whistler’s death was a key event and one that caused a real emotional response. But it’s a very effective vehicle for the second story and, let’s face it, Blade II just wouldn’t be the same without the Blade-Whistler dynamic!

It could be said that the new super breed of vampires in Blade II are too similar a storyline to the first film’s La Magra. Perhaps it’s for that reason I find this the weakest of the trilogy – but, it’s still awesome. Damnit, they attack their own species, and their hearts are encased in bone! (They also have three way jaws, but that’s not my favourite detail… it’s all a bit Alien. Makes for an entertaining autopsy scene, though.) And four years have elapsed between the first two films, which means there’s minimal imagination required for the timescale (no flashbacks/flash forwards), and which also means this wasn’t a straight-to-DVD money-spinning sequel. There’s also a great twist concerning Scud, who’s Blade’s right-hand man in the initial absence of Whistler, and a complex alliance that sees Blade working within a team. Not to worry, he remains just as aloof and independent in the context of a team! They provide some witty banter and a chance to see Blade engage with others besides Whistler. Speaking of Blade’s interactions, a further similarity with the first film is the presence of a beautiful female at Blade’s side. Nyssa, like the doctor, is an outlet for Blade’s softer side although there’s also an element of star-crossed lovers.

 the new super breed of vampires in  Blade II  are too similar a storyline to the first film’s La Magra. Perhaps it’s for that reason I find this the weakest of the trilogy – but, it’s still awesome. Damnit, they attack their own species, and their hearts are encased in bone! (They also have three way jaws, but that’s not my favourite detail…it’s all a bit ‘Alien.’ Makes for an entertaining autopsy scene, though) And four years elapsed between the first two films, which means there’s minimal imagination required for the timescale (no flashbacks/flash forwards), and which also means this wasn’t a straight-to-DVD money-spinning sequel. There’s a great twist concerning Scud, who’s Blades right-hand man in the initial absence of Whistler, and a complex alliance that sees Blade working within a team. Not to worry, he remains just as aloof and independent in the context of a team! They provide some witty banter and a chance to see Blade engage with others beside Whistler. Speaking of Blade’s interactions, a further similarity with the first film is the presence of a beautiful female at Blade’s side. Nyssa, like the doctor, is an outlet for Blade’s softer side although there’s also an element of star-crossed lovers.

Now, if Blade II is good, the final instalment (at least thus far) is epic. I can’t think of another trilogy in which the third film may rival the first; I saw Blade: Trinity twice in two days at the cinema. It features a cast full of hot young talent – particularly Ryan Reynolds as Hannibal King with THAT body. Wow. Oh, the effects have come along too since the first film. But they’re still not as impressive as Hannibal’s abs.

The writers have waited to bring out the big gun in the vampire world – Dracula. Well, he’s called Drake in the 21st century and he looks pretty good. There’s no widow’s peak or haughty, skinny frame; Purcell is handsome, muscle-bound and, frighteningly, difficult to identify in a crowd. He’s also the most equal opponent Blade has faced, as they share the ability to daywalk!

This time, Whistler really does die but he’s left a legacy in the form of ‘Nightstalkers’ Hannibal and Abigail Whistler (Jessica Biel). It’s a nice ‘real world’ spin that the public have Blade pegged as a serial killer, as he’s done such a good job of shielding them from the vampire world. Again, we see Blade operating as part of a team, but this time he’s less reluctant to get involved (even though King’s banter visibly irritates him, which is a nice continuous joke that helps counteract the more serious themes of this film).

The usually whiny Parker Posey makes a surprisingly beautiful and convincing villainess – kudos to the costume department for her seductive outfits. All the films are dark, but the vampire’s plans for the future of the human race, evocative of Nazism, are deeply disturbing and the sets are so well constructed it’s a shock to the system to see the warehouse the idea is being trialled in.  

I myself have only seen the theatrical ending, but I think it’s a brilliant conclusion. Drake’s gift to Blade shows that even he, the vampire overlord, respects the brave hybrid who is the hero of these films. His final words to Blade are actually more of a cliff hanger than either of the other films’ endings and leave the door open a crack… or at least for the TV series, the originally titled Blade: The Series which doesn’t feature Wesley Snipes and can therefore never match up to the movies.

The diverse storylines of the three films mean that they’re all easy to follow without knowledge of the other films. The details of the first film – especially those surrounding Blade’s past, the notion of pure-bloods and Deacon’s desire to become La Magra – are clearly explained within the context of the film, usually by one character to another. It’s just the right amount of information, presented in a way that doesn’t slow the pace of the film but does enrich our understanding of the story. The details in the subsequent films are similarly conveyed through conversation, although in the third there’s also narration from Ryan Reynolds. All three films involve quite complex plots and a delicate balance of vampire/human politics to contend with that turn comic book action into an embellishment rather than the main attraction. If you like your films with a story, this is the comic book movie for you.

And for those of you who are all about the action, Blade’s got a multitude of weapons and gadgets at his disposal – thanks, Whistler! My personal favourite is definitely the double-edged sword worn on his back. His name is Blade after all! The choreography is insanely impressive; just see the motorcycle scene in Blade II.  It’s the action sequences that tell you, if you weren’t aware, that this is a comic-book adaptation. The sound effects enhance this – you can practically see the ‘clank’ and ‘swish’ of Blade’s sword written in bubbles, but the film’s edginess and cool soundtrack stops this being ridiculous or comical. Some of these sequences may be a touch too long for some, but they’re so intricate and precise that it’s hard not to get caught up in them.

As comic book movies go, this is definitely for a more adult audience. It’s violent, it’s smart and I’ve said it several times, but it’s just so cool.

 Lauren Felton