The rock-n-roll vampires of Only Lovers Left Alive are among the most explicit audience wish-fulfilment surrogates in the history of fantasy filmmaking. Usually we have to exercise our imagination to vault ourselves into the exalted realm of our superhuman heroes. In our self-flattering daydreams we are always the mutants of the X-Men, the aliens of Avatar, the wizards of the Harry Potter world, never the ordinary clods who misunderstand and persecute them. It’s the fantastic element that prevents our identification with these demigods from becoming embarrassing. We feel a bit sorry for people who take their hero-worship so far as to actually learn Na’vi or participate in real-life Quidditch matches.
But Adam and Eve are exactly the sardonic, sexy misfits that the kind of people who go to Jim Jarmusch movies imagine themselves already to be. They make a fetish of old audio equipment and accoutre themselves in fabulous thrift-store chic. They’re saddened by pollution and they sneer at the anti-intellectualism of common rubes. They’re totally cool with gays. I’m pretty sure given more time with these characters we would eventually hear them endorse open-source software, the 100-mile diet, and public funding of the arts. Somehow these immortals have lived for at least half a millennium without accumulating any wisdom, or on the other hand carrying forward a single prejudice, that would challenge the belief system of the modern-day indie moviegoer. Isn’t that kind of boring? In the food court outside the theatre I could’ve found a dozen real people more fascinatingly estranged from the modern world than these ostensible relics of Elizabethan England.
In one of the latter, lesser-read chapters of Gulliver’s Travels, Gulliver finds himself in the land of Luggnagg, where he is told of the existence of certain people called Struldbrugs. These citizens, born now and then to ordinary mothers, have marks on their faces that indicate they will never die. Gulliver exclaims that these Struldbrugs must be the happiest people alive. When asked by his surprised hosts to elaborate, Gulliver paints a picture of wise and temperate sages passing their eternities in philosophical conversation with their fellows and freely offering the King the benefit of their accumulated knowledge. This discourse provokes much laughter. He learns that in fact the birth of a Struldbrug is regarded as a terrible omen. That these unfortunates age and suffer from disease just as we do, only they persist forever in their decrepit state, resenting and envying their countrymen who can look forward to the relief of death. The Struldbrugs are “opinionative, peevish, covetous, morose, vain, talkative, but incapable of friendship and dead to all natural affection”. After the age of eighty or so they lose interest in the world and stop learning new things, and eventually, as the language mutates and they fail to keep up, they find themselves unable to communicate even with their fellow citizens, let alone Struldbrugs born in earlier ages.
Jonathan Swift’s insight here was that even in the course of an ordinary lifespan, the world changes so much that a senior citizen finds himself feeling like a stranger in his own country. The vampires of Only Lovers Left Alive are no more alienated than the average struggling art student, but they wear their wisp of outsiderdom like a burqa. This happens to be one of the behaviours that old people find most irritating in young people. Am I incriminating the movie, then, or myself, when I say its immortals strike me as rather callow?