There's something pretty grisly going on under London in the Tube tunnels between Holborn and Russell Square. When a top civil servant becomes the latest to disappear down there Scotland ... See full summary »
A rich playboy has a large house in the countryside. One weekend he invites a fashion model. On his way to the house, he drives past a gang of crazy young men. The men find out where the ... See full summary »
Alvin Lee's car seen at the beginning of the film is a French Citroen Traction Avant made from 1934 - 1957. See more »
The Old Woman:
[singing to Lila]
There was an old woman all skin and bones, Ooh-ooh-oooh-ooh-ooh. And she did weep and she did moan, Ooooh-ooh-oooh-ooh-ooh. She walked on through the streets of town. Ooooh-ooh-oooh-ooh-ooh. Where all the dead lay on the ground. Ooooh-ooh-ooh-ooh-ooh. Then turned and to the parson said. Ooooh. Will I look like that when I am dead? Ooooh. The parson to the old woman said... BOO!
[Lila screams, the old laughs hysterically]
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The late and sorely missed Cheryl Smith stars as Lila, the lovely pubescent daughter of a notorious gangster, who is being fostered by a kind-hearted minister. Unaware of her father's whereabouts and concerned for his well-being, she receives a letter indicating that he lays ailing in a mapped location, and should she choose to visit him, then she must do so alone. Thus begins Lila's dark odyssey...from the minute she steps away from the familiar safety of her front door, her nest of childhood innocence is given way to a bleak and frightening world fraught with drunks, strumpets, and lecherous men...but a corporeity of a far more uncanny and sinister nature awaits her at her journey's end...the mysterious letter she received was a siren-song luring her to the incommunicado home of Lemora, a vampiress with an appetence for the blood of youths. This ancient, statuesque creature resides with her cackling old charlady and a mottle of emaciated children in a dark swampland where savage ghouls prowl the night.
The bizarre nexus ensuingly forged between Lemora and Lila is simultaneously horrific and erotically charged...the small-framed, willowy Lila futilely resisting, though apprehensively drawn to, the imposing and mysterious Lemora. It's an arousing 'butch/femme' dynamic which works well, and is illustrated more intricately than most examples of the gratis lesbiana inclusive to vampire cinema.
An artfully executed celestial nightmare with subtexts touching on religious hypocrisy and elegiac loss of innocence, LEMORA demonstrates perfectly how integrity, creativity, and resourcefulness can compensate heartily for dearth of funds in a motion picture production.
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