IMDb > El ataúd del Vampiro (1958)

El ataúd del Vampiro (1958) More at IMDbPro »


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Raúl Zenteno (story)
Ramón Obón (adaptation)
View company contact information for El ataúd del Vampiro on IMDbPro.
Release Date:
1958 (USA) See more »
From the depths of Evil comes a diabolical killer of beautiful women!
Graverobbers stumble upon the tomb of a vampire, who turns them into zombies to do his bidding, which is to stalk and capture beautiful women. | Full synopsis »
Plot Keywords:
User Reviews:
THE VAMPIRE'S COFFIN (Fernando Mendez, 1957) **1/2 See more (10 total) »


  (in credits order)
Abel Salazar ... Dr. Enrique Saldívar
Ariadna Welter ... Marta González
Germán Robles ... Count Karol de Lavud
Yerye Beirute ... Barraza (as Yeire Beirute)
Alicia Montoya ... María Teresa
Guillermo Orea ... Doctor Mendoza
Carlos Ancira ... Gerente museo
Antonio Raxel ... Director hospital
rest of cast listed alphabetically:
Lulu Azcarraga ... Víctima de vampiro (uncredited)
Irma Castillón ... Niña en hospital (uncredited)
Jorge Chesterking ... Turista museo (uncredited)
Jesús Gómez ... Policía (uncredited)
José Muñoz ... Comandante policía (uncredited)

Carlos Robles Gil ... Turista museo (uncredited)

Directed by
Fernando Méndez 
Writing credits
(in alphabetical order)
Ramón Obón  adaptation
Alfredo Salazar  uncredited
Raúl Zenteno  story

Produced by
Abel Salazar .... producer
Original Music by
Gustavo César Carrión  (as Gustavo C. Carrion)
Cinematography by
Víctor Herrera 
Film Editing by
Alfredo Rosas Priego 
Production Design by
Gunther Gerszo 
Makeup Department
Ana Guerrero .... makeup artist
Juana Lepe .... hair stylist
Production Management
Manuel Alcayde .... production chief
Fernando Méndez Jr. .... production manager
Second Unit Director or Assistant Director
Jaime Contreras .... assistant director (as Jaime L. Contreras)
Sound Department
James L. Fields .... sound supervisor
Javier Mateos .... dialogue recordist
Special Effects by
Juan Muñoz Ravelo .... special effects
Music Department
Galdino R. Samperio .... music recordist (as Galdino Samperio 'Crucy')

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
80 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

There is a smiling skull-and-crossbones insignia on the posters and lobby cards, with the words "Recommended by Young America Horror Club". There was no such organization; it was an invention of producer K. Gordon Murray to boost ticket sales.See more »
Crew or equipment visible: Every time Count Luvud turns into a bat and flies around, you can see the wires holding the bat.See more »
Movie Connections:
Featured in Horrible Horror (1986) (V)See more »


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4 out of 6 people found the following review useful.
THE VAMPIRE'S COFFIN (Fernando Mendez, 1957) **1/2, 10 November 2006
Author: MARIO GAUCI ( from Naxxar, Malta

Mondo Macabro's R2 DVD of this film's prequel, THE VAMPIRE (1957), had included stills from the follow-up excerpted from its photo-novel edition (apparently included in full as a DVD-ROM extra on Casa Negra's 2-Disc R1 Set "The Vampire Collection"); at the time, the synopsis had felt contrived and, therefore, I had anticipated that the film itself would be inferior to the original (though I'm still disappointed that there's no Audio Commentary to accompany it!). Having watched THE VAMPIRE'S COFFIN now - and re-acquainted myself with its predecessor (the very first Mexican horror effort I'd seen), which didn't disappoint - I can only confirm this!

Anyway, the original was largely set at a dilapidated hacienda in a remote village - with characters dressed in old-style clothing and an overpowering foggy atmosphere - so that it was jarring to see these same characters (or who was left standing among them) transposed to modern city surroundings! Apparently, the film-makers purposely opted to make the sequel as different as possible to its predecessor - and, while that same Gothic mood is felt on occasion, the three main settings of the film, i.e. hospital, wax museum and burlesque theater, elicit their own particular ambiance with which the vampire character may not always be compatible (for instance, he appears outside a bar to stalk an aspiring young female performer incongruously dressed in his traditional cape...and, yet, she never for a moment suspects his true intentions, in fact welcomes the stranger's advances by throwing flirtatious glances at him herself)!

The music score is typically overstated (as far as I can tell replicating that of the original, where it seemed to work better!) and the special effects pretty ropey - especially the very visible wires holding the supposedly flying bat, but also the number of times that the vampire is seen reflected in a mirror when it's made clear that he shouldn't!; that said, the transition from vampire to bat is, once again, neatly enough done. The most atmospheric moments are those set in the wax museum with its numerous torture devices (though the climax is a rather awkward mess!), and the large shadows thrown by the vampire on the various buildings in the afore-mentioned stalking sequence (in fact, the film-makers seem to have liked this effect so much that the scene is absurdly extended, when the vampire could very easily have rendered himself invisible at any moment and let the girl simply fall into his clutches - as he does, eventually!). Resting largely on the shoulders of lead/producer Abel Salazar, the comic relief comes off remarkably well (particularly in scenes where he has to explain his tall tale about disappearing coffins and rampaging vampires to his superiors or the police) and, in fact, my relative disappointment with the film isn't due to any intrinsic campiness - as was the case with THE BRAINIAC (1962), for instance - though, as per reviews I've read of the English-dubbed U.S. version prepared by K. Gordon Murray (included on the DVD but which I haven't checked out), it's a different matter altogether!

As for the principal cast members, Salazar is, again, an engaging hero; likewise, Ariadne Welter is lovely throughout (even when engaged in a sleazy dance number!) - but German Robles fares less well than in the first film (where he had cut a suitably imposing figure), here tending to come off as merely nonchalant...and a veritable Elvis Costello look-alike to boot! The evidently rushed production, then, ultimately brings (perhaps unkind) comparisons - with respect to the difference in quality between the two films - to SON OF KONG (1933) when stacked up against its monumental prequel!

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