Terrible Force: Our Favorite Gothic Movie Stars

Gothic and neo-gothic is our favorite topic this week: having seen enough of Angelina Jolie's cheekbones in Maleficent, we wanted both the appropriate makeup and wardrobe (both points have already been sorted out). But if she doesn't sound like a compelling role model to you, here are ten more of our favorite gothic divas.

(Total 9 photos)

1. Pris, Blade Runner, Ridley Scott, 1982

A futuristic neo-noir inspired by Philip Dick's Do Androids Dream of Electric Sheep? set standards on several fronts: finally brought Harrison Ford to superstardom, showed how to fearlessly film cult books, shoot a creepy future and leave an ending that several generations of viewers will fight over. Of all the inhuman women of the film, we chose the sinister and unfortunate Pris - a rebellious replicant, a dark priestess of love played by Daryl Hannah with bouffant and makeup that Robert Smith would be proud of.

2. Miriam Blaylock, Hunger, Tony Scott, 1983

A year after Blade Runner, Ridley Scott's younger brother directed his cult classic, a drama about vampires and premature aging with David Bowie, Catherine Deneuve and Susan Sarandon. The immortal Miriam doesn't look much like a goth, except for a long intro in a nightclub, where she weaves through the crowd in leather to Bauhaus music in search of a victim. For the rest of the time, keep in mind that a white silk blouse combined with an ankh pendant and red lips will not betray your dark side to everyone in a row, but who knows, he will understand.

3. Elvira, Elvira: Mistress of the Dark, James Signorelli, 1988

By the end of the 80s, dark and fatal characters were definitely no longer taken seriously, and a relatively funny but effective horror comedy about a vamp woman who inherited a mystical legacy was born. True, this image must be handled with caution - Cassandra Peterson, who played Elvira, has remained a hostage of one role and still (she is already 62) from time to time flaunts at thematic events in a wig and a deep cleavage.

4. Wednesday Addams, The Addams Family, Barry Sonnenfeld, 1991

A macabre satire of the typical American affluent family—with troubled teenagers, a femme fatale stay-at-home mom, a briated dad and numerous relatives, as well as many beautiful things—has grown out of cartoons in The New Yorker. Of course, the matriarch of the Morticia Addams family looks the most luxurious of all, but, admittedly, she exploits approximately the same image as Elvira. So we chose as inspiration the depressive Wednesday, which for a long time determined the role of Christina Ricci. The main thing here is two tight pigtails and a wolf look from under the brows.

5. Mina, Dracula, Francis Ford Coppola, 1992

The canonical vampire epic based on the novel by Bram Stoker, starring Gary Oldman in a powdered wig, Anthony Hopkins as Van Helsing, and a young Keanu Reeves in ambiguous scenes. Winona Ryder plays his fiancée Mina, in whom Count Dracula recognized the spirit of his dead wife - the cause of surprising and ominous events. It's all the woman's fault, of course.

6. Claudia, Interview with the Vampire, Neil Jordan, 1994

The most beautiful vampire film was made by the wonderful, if uneven Irish director Neil Jordan, and long before Twilight, the True Blood series and Jarmusch, he made sex symbols out of bloodsuckers. The tragedy of eternal life is always a tragedy, even if you are forever doomed to look like a young Brad Pitt. But in the case of the heroine Kirsten Dunst, everything is even sadder - she will never be able to change her hairstyle and grow up, although she is doomed to experience completely unchildish passions. Looks a lot like us, doesn't it?

7. Mrs. Lovett, Sweeney Todd, The Demon Barber of Fleet Street, Tim Burton, 2007

Tim Burton is the king of modern cinema macabra, and dancing on the verge of life and death is his forte. They obviously sang along with their wife on this point, because few people have Helena Bonham Carter looking so organically. The movie musical about a vengeful barber with a broken life is gothic through and through, but Bonham Carter's character (Todd's accomplice and mince pies queen Mrs. Lovett) never loses sight of the Victorian backdrop.

8. Eli, Let Me In, Thomas Alfredson, 2008

Thomas Alfredson's touching, albeit slightly poser film based on the Scandinavian bestseller - where vampires serve as a metaphor for teenage outsiders. The girl Eli, with an atypical appearance for Scandinavians (still more incomprehensible in the book), arrives in a sleepy and snow-swept Stockholm suburb to take the timid and pale Oscar under her wing. It must be admitted that her Gothic nature can only be identified by her deathly pallor, the ability to walk barefoot in the snow and the rivers of blood that she leaves behind.

9. Virginia, Between, Francis Ford Coppola, 2011

Another young person who learned the hardships of nothingness too early is the heroine of Coppola's far less pompous than Dracula, a slightly stupid, but very personal film by Coppola. An alcoholic writer goes on a press tour with his book about witches and ends up in a town frozen in time with his secret. In the course of the action, he meets first the spirit of Edgar Allan Poe, and then either a girl or a ghost in Victorian lace and with a painful blush on her deathly pale face.