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Leonor (1975)

PG  |   |  Fantasy, Drama, Horror  |  September 1977 (USA)
5.4
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Ratings: 5.4/10 from 158 users  
Reviews: 6 user | 3 critic

A female vampire rises from her crypt every night in search of children as her victims.

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Title: Leonor (1975)

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Cast

Cast overview, first billed only:
...
Richard
...
Leonor
...
Catherine
Antonio Ferrandis ...
Thomas
José María Prada
Ángel del Pozo ...
Chaplain
José Guardiola
George Rigaud ...
Catherine's father (as Jorge Rigaud)
José María Caffarel ...
Doctor
Piero Vida
Tito García
Francisco Nieto ...
(as Paco Nieto)
José Moreno
Ana Gasber
Edit

Storyline

Richard is a medieval nobleman. After his first wife dies in an accident and is buried in the family vault, he remarries and has children by his second wife. A mad longing for his first wife Leonor comes over him, and he sells his soul to the devil for a chance to get her back. But when she returns, she is a murderous vampire. Written by Ørnås

Plot Summary | Add Synopsis

Genres:

Fantasy | Drama | Horror

Certificate:

PG | See all certifications »
Edit

Details

Country:

| |

Language:

Release Date:

September 1977 (USA)  »

Also Known As:

Mistress of the Devil  »

Box Office

Gross:

ESP 25,349,451 (Spain) (3 March 2000)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (dubbed)

Sound Mix:

Color:

(Eastmancolor)
See  »

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User Reviews

 
Slow moving romantic horror story
19 May 2004 | by (Geilenkirchen, Germany) – See all my reviews

Don't expect 70s Eurohorror in the vein of Jess Franco and the like, and don't expect anything ingenious like the efforts of the director's father. It's a loose adaptation of motives by early romanticist Ludwig Tieck, and since there was no vampirism in literature back then, THERE ARE NO VAMPIRES IN THIS MOVIE EITHER! Just Liv Ullman coming back from the dead after 10 years and strangling children. Great locations, good acting, but neither a convincing drama nor a satisfying horror film. But I've seen much worse than that and young Ornella Muti's a treat. And I like the fact that some screenwriters of the seventies got back to classic seldom filmed literature (like Ado Kyrou did in the far superior 'Le Moine') instead of copying plotlines, themes and motives that have been used a thousand times before.


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