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New Century of Cinema
DOWSE Guide to the
Movies
by Tony Lee editor of Pigasus
Press
Lilith Silver is not your average movie vampire. She has a coffin packed with
weapons and works as an assassin to alleviate the boredom of immortality. She's
also a gourmet eater among urban predators, rating her foodstuff for its salt
and iron content. More than that Lilith is a rubber fetishist's wet dream that
frequents London's Goth nightclub, Transilvania, and picks up lipstick lesbians
for seduction and murder. In short, Ms Silver is a blood-spilling, gun-toting,
invulnerable dominatrix, fully capable of tackling the "freemasonry on acid" as
practiced by a dangerous Illuminati cult (that started "a little trouble in the
Gulf"), and still coming out on top.
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Razor Blade Smile
93 minutes (18) 1998
Written and directed by Jake West, Razor Blade Smile is a British enterprise with
acting hardly a knife edge short of amateur and low-rent production values which
make a virtue of the necessity of handheld camerawork, subtly enhanced by slow-motion
flashbacks, time-lapse scene links and striking digital montage dream sequences.
As anti-heroine, Lilith, buxom Eileen Daly gives her all: fulfilling the promise
of her 'Angel of Death' character in combat with evocations of Nikita's
shootouts, and Highlander's duels, and delivering spiky monologues that
deride centuries of vampire folklore, dismissing "the usual stereotype" of fantasy
with an hilarious "Fuck Bram Stoker!" (did she, I wonder…) one-liner. Vampish
bisexuality recalls Hammer horrors like The Vampire Lovers (based on Le Fanu's
'Carmilla'), while Lilith's archenemy, Sethane Blake (Christopher Adamson - all
pointed sideburns and threatening leer) is almost as amusing as the obvious Van
Helsing variation of "not too bright" Scotland Yard detective, Price (Jonathan Coote),
forever getting kicked in the balls by Lilith's stiletto heels.
Sunglasses may shield the vampire's sensitive eyes from the risk of exposure to the
traditional napalm-effect of daylight, but nothing can protect viewers from this
film's campy dialogue. And, what seems to be intended as a diabolically clever, twist
ending is predictable, really, given the events of a romanticized b/w prologue.
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