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The human/vampire/werewolf Michael contains all elements of society within his being, and exemplifies the difficulty of making divisions between creatures. If hybrid creatures can exist, how can there be war between two beings that can create a new individual like Michael? Michael poses this argument; much like a multiracial child's life might act as a living, breathing argument against intolerance.
Also, the love that the vampire woman Selene feels for Michael shows that love cannot be imprisoned in categories of class and race, but rather war punishes people based upon such arbitrary distinctions in a futile fashion. Thus, one of the primary lessons of the film is the difficulty, even within war, you can never know who truly is on your side. For example, before she met Michael, Selene the vampire used to believe that werewolves had killed her entire vampire family, because...
Then, she learned that Viktor was responsible. However, she merely continued the cycle of revenge, by killing Viktor.
The basis for the two conflicts between vampire and werewolf, is not based upon logic, rather it is based upon long-standing hatred. The hatred continues even in the absence of logic, as more bodies pile up, the groups find new reasons to blame one another. Even Selene's knowledge that her previous life of hatred was a lie leads to more violence and death, as she turns against Viktor, and thus the persistent, human propensity for continual struggle without purpose is seen even in those who potentially have all of their lives to learn from such lessons of futility, as taught by the rivalries of their ancestors.
Works Cited
Underworld." Directed by Len Wiseman. 2006
Works Cited
Underworld." Directed by Len Wiseman. 2006
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