''The Hunger'' is a British film from 1983, the first to be directed by Creator/TonyScott. The screenplay was written by Ivan Davis and Micheal Thomas, and adapted from Whitley Strieber's novel.
Creator/SusanSarandon plays Dr. Sarah Roberts, a researcher in premature aging who is contacted by John Blaylock (Music/DavidBowie) who is in fact the immortal companion of Miriam, a beautiful vampire played by Catherine Deneuve. John was led to believe that he and Miriam would share a life of eternal youth when they met in the 18th century, and is most distressed by the fact that his body is suddenly deteriorating. Miriam, however, has known for some time that she needs a replacement companion. And Sarah is about to walk through the door...
* AgeWithoutYouth: Miriam's companions each suffer this fate after about 300 years or so of age ''with'' youth.
* AndIMustScream: The fate of Miriam's companions, John included, is to be shut in coffins as their bodies age and become more and more frail but never actually die.
* AnimalTesting: Sarah's investigations into the effects of premature aging, and methods of prevention, on chimps.
* TheBeautifulElite: Miriam and John, but they avert BeautyEqualsGoodness. (The novel goes a step further, revealing that Miriam is part of an InhumanlyBeautifulRace and has to tone down her beauty to walk amongst humans- though she also has to wear a wig, as her own hair is short, scanty fluff.)
* BeautyToBeast: John doesn't wear the effects of RapidAging well.
* BigApplesauce: The story is set in UsefulNotes/NewYorkCity, to be specific.
* BlondesAreEvil[=/=]BlondGuysAreEvil: Miriam and John, respectively.
* BloodIsSquickerInWater: Used to great effect, particularly immediately after the opening sequence.
* DaywalkingVampire: Sunlight does not affect Miriam or John.
* DepravedBisexual: Miriam.
* DisturbedDoves: They seem to be permanent residents at the Blaylock home.
* DownerEnding: On the one hand, John and the other lovers take revenge on Miriam and are able to perish while she experiences their And I Must Scream fate for herself. On the other, rather than dying, the turned Sarah moves to Paris (taking the imprisoned Miriam along) to start anew with lovers of her own. The novel's ending, in which the revenge fails, Sarah dies, and Miriam starts over is no picnic either.
* DramaticNecklaceRemoval: The ankh-knife pendants.
* EverythingsBetterWithMonkeys: Averted, by Sarah's test subjects.
* ExecutiveMeddling: The ending scene at the balcony was added at the studio's insistence and to Sarandon's consternation.
* ExpositionOfImmortality: The audience is privy to John's memories of Miriam turning him and Miriam's memories of AncientEgypt and a previous companion.
* HorrorHunger: What the title refers to.
* ImmortalityBisexuality: Miriam. This becomes particularly clear in the climatic scene when [[spoiler: several coffins in Miriam's house prove to contain ancient-looking undead some of which are dressed in women's dresses and at least one of which (besides John) is dressed in a man's suit]].
* KickTheDog: John and Miriam are friends with a precocious teenaged female violinist named Alice, with whom they play classical music. And then John kills her to drain her blood.
* LesbianVampire: Miriam is a bisexual variant.
* LiteralPun: John ages several centuries in a doctor's waiting room. Admit it, you've felt like that too...
* NoImmortalInertia: Miriam doesn't have to worry about this. Her lovers, on the other hand...
* OurVampiresAreDifferent: To the point that neither novel or film uses the V-word ''at all''. For starters, they have no fangs -- Miriam has Egyptian origins and prefers a more [[IncrediblyLamePun cutting approach]] featuring blades concealed in ankh-shaped pendants. She can display great strength, but has no traditional weaknesses. She and her current companion must feed once a week, a process that requires one murder victim apiece. Finally, a proper amount of deep sleep is needed each day to maintain youthfulness and strength; the first sign a companion is about to decay is chronic insomnia.
* RapidAging: When a companion's decay sets in, it wastes no time.
* Really700YearsOld: Miriam was around when the Sphinx was constructed, and John doesn't look too bad for 200+, at least at first.
* SlidingScaleOfAdaptationModification: Type 3. It excises the novel's lengthy flashbacks to Miriam's past (which reveal her kind existed before humans did) and many doomed lovers, but effectively condenses and focuses on the present-day story, though the ending is significantly altered.
* SlidingScaleOfVampireFriendliness: Don't let their lovely looks fool you; Miriam and John are definitely on the nasty end of this scale. They ''must'' feed every week and all victims ''will'' die in the process. A person converted by Miriam -- it requires a special process -- will not be able to resist their new HorrorHunger for long, even if they were a good person before.
* UrbanFantasy: It's all about immortal vampires in contemporary New York.
* VampireDance: The opening scene features Miriam and John picking up a goth couple in a club to take home while [[AwesomeMusic Bauhaus perform "Bela Lugosi's Dead"]].
* VampiresAreRich: Miriam and John have enough wealth amassed that they can live a lovely, undisturbed existence in their townhouse...why, they even have their very own incinerator in the basement to dispose of all those bodies.
* VampiresAreSexGods: ''Oh, yes.''
* WickedCultured: Miriam and John embody this trope in their elegant surroundings and clothing, for starters. In the film only, it is suggested that they were initially drawn together via their shared gift for playing and appreciation for what, in the present day, is regarded as classical music, and when Miriam makes to seduce Sarah, it's over [[http://www.wikipedia.org/wiki/The_Flower_Duet The Flower Duet]] and fine wine.
* WouldHurtAChild: John, who murders the young violinist who came to the house regularly for tutoring. It's also implied (outright stated in the novel) that Miriam was grooming the girl to replace him.