As part of my Halloween viewing program, I broke out Nick Knight (1989), the made-for-TV movie predecessor of the series Forever Knight. Interestingly, the only actor to make it from this film to the series was John Kapelos as Schanke. Even the setting was replaced, LA with Toronto. So, how do they compare?
The more I think about it, the set up for each best suits its own format. The neo-noir vibe of the movie, its lighting, use of current music, locations, casting, and characterization are appropriate for a one-off movie. Then there’s the clever humor of having a vampire arrive at his home to “I’m Only Human.” Even better, this home is a former movie palace with It’s a Wonderful Life on the marquee, signaling Nick’s haunting by the dream of many past lives, likely not all so wonderful.
On the other hand, Toronto works beautifully for the series, Forever Knight (1992-96), setting the stories in a unique locale that’s a blend of the old world lurking in the new, characteristic of that city. The tone of the series is perfectly attuned to the eerie wryness of the era of The X-Files and the revived Outer Limits, with playful riffs on the cinematic vampire tradition. As a series, Forever Knight draws you into a community of the Gothic dark world and noir mean streets, but still a place where relationships shift and grow rather locating you in a stylized, neon-lit LA. Not to say that the aerial shots of LA’s blue glow, to capture a vampire’s-eye view of the city, aren’t pretty darn nifty.
I find the characterizations and casting more compelling in the series, but of course a series gives more time for development. Rick Springfield is good as a slick, cynically ironic, tough-as-nails but really decent detective/vampire, perfect for 1980s neo-noir. Still Geraint Wyn Davies’ Byronic Nick has an emotional depth, an ability to reflect and regret and care, seasoned with a mischievous wit, that deepens his character. Changes in the rest of the cast also prove more interesting in Forever Knight. The supportive male coroner from Nick Knight is now played by the feisty Catherine Disher, and the romantic tension that bubbles up from time to time in Nick and Natalie’s friendship makes for an interesting evolution of the relationship that only the longer duration of a series better facilitates. The movie’s Jeanette is a poseur at Continental finesse, whereas the series version of the character is an actual woman of the Old World (like Medieval France!), who is clever, witty, and definitely menacing. Schanke is still kind of a jerk, but in the movie he’s just a jerk. In the series he’s smarter and less self-impressed. He actually becomes Nick’s friend. LaCroix is maybe the most interesting change, after Nick. Nigel Bennett’s LaCroix in the series carries a wit and menace that leaves Michael Damon’s rather wooden interpretation in the dust. Where Damon’s LaCroix is Nick’s age-contemporary, Bennett’s greater age and expertise lend an Oedipal twist to the relationship between master/mentor vampire and apprentice growing into independence.
So, glad as I am that James D. Parriot did get his vampire tale made in 1989, I’m even gladder that he recast and relocated the project to give us a series with more depth and a greater Gothic feel.
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