In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful ... See full summary »
In medieval Europe aging Countess Elisabeth rules harshly with the help of lover Captain Dobi. Finding that washing in the blood of young girls makes her young again she gets Dobi to start ... See full summary »
A religious sect led by Gustav Weil hunts all women suspected of witchcraft, killing a number of innocent victims. Young Katy, Gustav's niece, will involve herself in a devilish cult, and become an instrument of Justice in the region.
A village in Nineteenth Century Europe is at first relieved when a circus breaks through the quarantine to take the local's minds off the plague. But their troubles are only beginning as ... See full summary »
Young Carmilla is jealous of her friend's engagement, and her obsession leads her to the tomb of a female vampire. The vampire possesses her and leads her to kill and terrorise the ... See full summary »
Three middle-aged distinguished gentlemen are searching for some excitement in their boring bourgeois lives and get in contact with one of Count Dracula's servants, Lord Courtley. In a ... See full summary »
A young man, Paul Carlson, is on a trip and spends the night at count Dracula's castle. Needless to say, he is murdered. After some time has passed, the young man's brother Simon comes to ... See full summary »
Roy Ward Baker
The Countess is called away to tend a sick friend and imposes on the General to accept her daughter Marcilla as a houseguest. Some of the villagers begin dying, however, and the General's daughter Laura soon gets weak and pale, but Marcilla is there to comfort her. The villagers begin whispering about vampires as Marcilla finds another family on which to impose herself. The pattern repeats as Emma gets ill, but the General cannot rest, and seeks the advice of Baron Hartog, who once dealt a decisive blow against a family of vampires. Well, almost. Written by
Ed Sutton <email@example.com>
An ocean of mist hangs above a grave. A figure enveloped in a white shroud swirls through that mist with balletic grace, then rakes a hand across a bloody mouth.* A man at his niece's deathbed calls for her missing friend. The call echoes through the empty chambers of the house and down the terrace outside, where the wind blows fallen leaves through the autumn night. The calls merge with older echoes in a cemetery beneath a ruined castle. A woman walks in those mists, clad in her nightgown. The mists dissolve her from sight. * "I want you - to love me - for all your life," pleads a beautiful vampire turning from the view through a moonlit window to clasp the girl she loves with desperate intimacy. * That same vampire woman stands on a terrace in the sunset, tears glinting in her eyes while she listens to the ancestral echoes that condemn her to her fate. *
Yes, this is pure Hammer Horror: a work conceived as sheerest exploitation which somehow transforms itself - in its greatest moments anyway - to an authentic romantic poetry. Yes, of course, a lesbian vampire movie made by men may seem the height of sexism, and at a conceptual level the movie may be open to those charges. But a female gothic artist was involved here: Ingrid Pitt, whose Carmilla is such a vivid presence as to render herself the character we root for and her patriachal enemies as the true pale-faced monsters (Has Peter Cushing ever come across as less loveable?). Other screen vampiresses are bimbos or boogeywomen or upmarket fashion plates by comparison: Pitt is tigerish, witty, tender, passionate, vulnerable, savage and tragic: Perhaps the only actor, male or female, who has brought to full life all the complexities of the vampire psyche. She's great and the other film-makers, at their best, rise to the challenge she sets. The movie is hardly unflawed but when its accidental poetry gels, few movies in its genre can surpass it.
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