Most low-budget, independently produced horror movies are cheesy gross-outs designed for the straight-to-video market, and that can make it even harder for a real movie maker who's decided to dip a toe into the scare genre; his work may end up tainted by association. When the writer-director Michael Almeda decided to make Nadja (1994), his oddly poetic comedy about a vampire princess in Brooklyn, he had an additional problem in that the children of the night were becoming so goddamn overexposed; Almeda, who has since become best known for his amazing 2000 Hamlet and his documentaries about the creative process (This So-Called Disaster, William Eggleston in the Real World), was competing for attention with Anne Rice and Francis Ford Coppola, with Jess Weldon and lesser pretenders coming up fast. Seen today, Nadja is a flawed but strikingly inventive, great-looking, and sometimes very funny riff on the mythology of the undead. It's also very evocative of a specific time and place, and I don't mean Transylvania. Almeda cast it with what you might call the Mid-Nineties Indie Film All-Stars: The stunning Elina Löwensohn in the title role, Martin Donovan, Suzy Amis, Jared Harris, Karl Geary and, on the comeback trail, Peter Fonda as the vampire killer Van Helsing. (Fonda, who's just arrived in town after finally dispatching Dracula, is especially funny explaining that staking the old Count was no great challenge: "He was like Elvis at the end. . . The magic was gone, and he knew it.") There's also a cameo by David Lynch, who was one of the movie's producers, as a security guard at the morgue. One line in particular also time-stamps the picture, when Jared Harris, as Nadja's brother, describes an ESP message from his sister as "a psychic fax." If the picture had been made twenty minutes later, he would have said "e-mail."
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