WHAT WE DO IN THE SHADOWS. (2014) REVIEW BY SANDRA HARRIS. ©

WHAT WE DO IN THE SHADOWS. (2014) WRITTEN AND DIRECTED BY JEMAINE CLEMENT AND TAIKA WAITITI. STARRING JEMAINE CLEMENT, TAIKA WAITITI, JONATHAN BRUGH, BEN FRANSHAM AND JACKIE VAN BEEK.

REVIEW BY SANDRA HARRIS. ©

I always wince a bit when someone comes at me with a ‘horror comedy,’ as usually I prefer my horror straight, and scary. I was pleasantly surprised, however, when, being made to watch this one with the assurances that it was very funny, I did indeed find it to be very funny, but also warm, witty, and a loving tribute to the vampire genre by a bunch of guys who obviously loved and respected their subject.

It’s a ‘mockumentary,’ along the lines of SPINAL TAP (which parodies the rock music business) and BEST IN SHOW (a spoof on American dog shows), and features four vampires from modern-day Wellington (the capital of New Zealand), sharing a house and being followed around by a camera crew so that viewers can get a sense of the vampires’ lives, or states of un-death, if that’s a better description of their existence.

Viago, a sort of dandy vampire dressed in the extravagantly frilly, flouncy style of INTERVIEW WITH THE VAMPIRE, is probably the most conscientious of the four ‘house-mates’ and, in fact, he opens the film by calling a house meeting on the subject of Who Hasn’t Been Pulling Their Weight Around The Flat.

Transgressions include leaving a load of dirty, blood-soaked washing-up in the sink, not putting down newspaper to collect blood splashes when killing and eating a victim on the house couch, and generally just leaving a bloody mess everywhere around the place for other house-mates to clean up.

Deacon, a sexy-cool (as he likes to think), rather gypsyish-looking younger vampire, who likes to knit and to perform ‘erotic’ dances for the amusement of his fellow house-mates, is generally found to be the main offender when it comes to the washing-up. With muttered claims that this is all nothing but ‘bullshit,’ he grudgingly gets to work with the old Fairy Liquid and the rubber gloves.

Vladislav the Poker (clearly a riff on Vlad the Impaler) is a flamboyant, passionate and powerful vampire who was once a tyrant in his earlier life. He is obsessed by a former opponent of terrifying proportions he calls ‘the Beast,’ the only opponent to have ever bested him.

The actor who plays Vlad (Jemaine Clement, one half of successful comedy duo Flight of the Conchords) says he based his performance on Gary Oldman’s portrayal of Dracula, even down to the two weird lumps of hair…

Petyr, the fourth house-mate, is a non-talking, ferocious-looking 8,000-year-old vampire who lives, Nosferatu-style, in the dark, damp basement of the shared house.

In appearance, he’s a cross between Murnau’s Count Orlok and Reggie Nalder’s stunningly scary Kurt Barlow in the television adaptation of Stephen King’s most frightening book, SALEM’S LOT.

Nick is a young man who joins the group and whom Petyr bites and vampirises, and there’s great fun then as Nick goes around telling all and sundry that he’s a vampire now and has cool powers, such as being able to fly and turn into a bat, and such.

The group have grave misgivings about Nick’s tendency to be a big-mouth and flap his gums. It might attract the attentions of a vampire-hunter, for one thing, which could have grave ramifications for the health and safety of the group as a whole.

The scene in which Viago, Vladislav and Deacon tell Nick that he’s banned from the house ‘indefinitely,’ but that his mild-mannered-to-the-point-of-deadpan computer geek friend Stu is still welcome to drop by any time, is very funny indeed.

We follow the lads around as they try to get ‘invited’ into Wellington’s various night-spots in order to trawl for possible victims (a vampire can’t go anywhere he’s not invited, remember?), and exchange insults with the local band of werewolves, before later becoming more pally with them.

They hypnotise the police into not seeing the corpses and signs of human carnage clearly dotted round their place of residence when a neighbour complains of the constant screaming coming from their house, and they also get invited to this year’s Unholy Masquerade of vampires, zombies and witches, at which the guest of honour is to be Vladislav’s Number One enemy and nemesis, the Beast. Stand by for scenes of bloody confrontation and recrimination…

Vampire films/television shows referenced or quoted directly in the movie include Gary Oldman’s DRACULA, BLADE, TWILIGHT, BUFFY THE VAMPIRE SLAYER, THE LOST BOYS and INTERVIEW WITH THE VAMPIRE. I think THE HUNGER was in there a little bit too, in Nick’s ‘turning’ and Vlad’s David Bowie-style ageing when he becomes unwell while thinking too much about the Beast.

I could be mistaken, but I don’t think I caught any references to Hammer Horror in the mockumentary, and Christopher Lee’s portrayal of Dracula in seven films for the Hammer film production company.

Did the lads behind the film not catch any repeats of these fantastic films when they were growing up? Oh well. Maybe the omission was a pure accident, but I would love to have seen some reference to Hammer’s Dracula in there somewhere.

Anyway, this is overall a pretty funny film which you’ll certainly enjoy watching even once. The characters are all immensely likeable, especially when they’re being dozey twats, and you get kind of a nice, warm fuzzy feeling when you’re watching it, stemming from the obvious affection in which the writer-actors hold the genre they’re parodying. Enjoy it. It’s good, clean bloody fun…

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page: http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books.

THE HUNGER. (1983) REVIEW BY SANDRA HARRIS. ©

hunger catherine

THE HUNGER. 1983. BASED ON THE BOOK ‘THE HUNGER’ BY WHITLEY STRIEBER. DIRECTED BY TONY SCOTT. CINEMATOGRAPHY BY STEPHEN GOLDBLATT.

STARRING CATHERINE DENEUVE, DAVID BOWIE, CLIFF DE YOUNG, SUSAN SARANDON, BETH EHLERS, DAN HEDAYA, WILLEM DAFOE AND BAUHAUS.

REVIEW BY SANDRA HARRIS. ©

(First published here in 2016.)

I took this film out of the library recently (yes, there are still those of us who do that, like cave-people who’ve never heard of Netflix…!) and the librarian laughed as he checked it out and remarked that the director really had ‘a thing for billowing curtains.’

I had to laugh too. There certainly are a lot of billowing curtains in this visually beautiful and arty erotic vampire film, along with classical music and classical statuary and paintings. The director was definitely trying to create something artistically eye-catching and in this he’s succeeded, but the film’s not without its problems or, indeed, its stern critics.

Despite its being obviously sexy and stylish, film critic Roger Ebert described the film as ‘an agonisingly bad vampire movie.’ That’s one way of looking at it, I suppose, but it’s found itself a cult following amongst the goth subculture so the news isn’t all bad.

Me personally, I love this film and think it’s one of the best non-Dracula vampire movies ever made, along with INTERVIEW WITH THE VAMPIRE and SALEM’S LOT, based on the internationally bestselling books by Anne Rice and Stephen King respectively.

Now to the plot. Miriam Blaylock, played by well-preserved French actress Catherine BELLE DE JOUR Deneuve, is one hot momma. In one way. In another, she’s a stone-cold bitch who also just so happens to be a vampire. That’s right, she’s an ageless and beautiful vampire who is hundreds, maybe thousands of years old.

She lives in Manhattan in a fantastic old house filled with the aforementioned priceless objets d’art. She doesn’t need to go out to work because she’s as rich as Croesus, although she poses as a teacher of classical music along with her handsome younger husband. By the way, did I forget to mention that this classy lassy with the bottomless bank account is married in the film to the Thin White Duke…?

Yep, her hubby John, an eighteenth-century cellist, is played by musician-actor David Bowie, who sadly passed away earlier this year and- as some people maintain!- unintentionally sparked off a chain of celebrity deaths that had us reeling and railing against the Grim Reaper till midsummer at least. It’s been a bad year for celebrity deaths.

He’s a vampire too like his missus but he’s a very tragic figure in this film. When we come in, he’s unfortunately started to age at the rate of knots, even though Miriam, that lying, manipulative bitch, had promised him eternal life and also eternal youth when they first got together back in the eighteenth century.

She may have been telling porkies about the eternal youth thing, but it seems that she was telling the brutal truth about his living forever, which is extremely bad news for her hubby John who’s now so ancient in his appearance that he makes Grampa Simpson from THE SIMPSONS look young…!

Before long, Miriam is callously locking him away in a coffin in a room at the top of the house where, incidentally, she keeps the rotting corpses of her other lovers. She’s pledged eternal love to all of them but we quickly learn that ‘eternity’ for Miriam can end in a heartbeat the minute she tires of you or you can no longer satisfy her. The corpses are doomed to lie there, awake and aware, for all eternity because she’s too goddamn selfish to let them die. That bitch. I told you guys she was cold…!

Things start to get really gruesome after poor, poor old David Bowie has been put in his ‘forever’ box in a heartbreaking scene that would make you feel very angry with Miriam on behalf of John and the other boxed lovers.

The sexually insatiable but horrifically selfish Miriam then turns her attentions to Dr. Sarah Roberts, the author of a dreary but terribly worthy tome called SLEEP AND LONGEVITY who carries out ageing experiments on monkeys, of all things.

Dr. Roberts, a gerontologist consulted by an agonised David Bowie before his incarceration in Miriam’s attic, is played by a freakishly young-looking Susan Sarandon with a painfully ‘Eighties hairstyle. Poor David Bowie thought that maybe she could slow down or even stop altogether his dreadful ageing process but it was no dice, sadly. Science hasn’t advanced that far yet, if it ever does.

Sarah can’t help being mesmerised by Miriam, who is quite simply the last word in feminine allure. The two have lesbian sex in Miriam’s gaff. (Well, what other kind could they have…?) Yes, you do see boobs; Sarah’s, but not Miriam’s…!

The sex is all very artistically-shot and stylish, and by the end of it, Miriam has co-mingled their respective bloods, in a disgustingly non-consensual act of what we’d today probably refer to as rape, and Sarah is on her way to becoming a fully-fledged vampire.

Sarah gets as sick as a dog as her body comes to terms with its new situation. I love the scene in which Miriam tells her new lover that she’ll sleep for six hours out of every twenty-four and she’ll need to ‘feed’ once a week. Just give the girl the instructive pamphlets entitled SO YOU’RE A VAMPIRE NOW or VAMPIRES 101 or VAMPIRES FOR DUMMIES or even SO YOU’VE RUINED YOUR LIFE and let her figure it all out for herself, lol. 

Sarah becomes so desperate for blood when ‘the hunger,’ as Miriam puts it, is upon her, that she kills her own scientist lover when he comes looking for her at Miriam’s place, and she joins in the gory fun when Miriam rips a young male pick-up limb from limb.

Sarah’s scientist friends are alarmed when they examine her blood medically and discover that her bloodstream has actually been invaded by a foreign, non-human blood strain, which is winning the battle for dominance over Sarah’s own normal blood.

It’s extremely frightening for Sarah (‘What have you done to me…?’), and it’s also almost impossible not to think of the way in which the AIDS virus is transmitted. This was, after all, the time when AIDS was rearing its ugly head for the first time. The passing of the vampire gene resembles the transmission of a blood infection. Christopher Lee never had this issue, lol.

In fact, when I first used to watch the devastatingly handsome and sexually dominant Christopher Lee as Dracula in the HAMMER HORROR films, I wanted nothing more than to be a vampire too.

I’d live with him in his crumbling Transylvanian castle and drink blood from a jewel-encrusted goblet brought to me nightly by my new husband’s naked, full-bosomed handmaidens. It was going to be sweet. This film put me off the idea of being a vampire for good.

All that sweating and being sick and looking as if you’re dying with the ‘flu while your body craves human blood changed my mind about it, along with the decidedly unsavoury sight of Susan Sarandon in her yucky grey sweat-socks sweating buckets through her old grey T-shirt.

I only ever wanted the glamour and the sex with Dracula, anyway, not so much the other stuff. I certainly never wanted to do my own killing, and I’d only ever be pushed about immortality if I had someone decent to share it with. But, when it comes down to it, isn’t that what Miriam wants for herself…?

So anyway, do Miriam and Sarah live happily ever after for all eternity, or is eternity just too long a time even for a vampire…? There’s a neat little twist at the end that I can’t tell you about, but I thought it was a strange ending to an already strange film. Apparently, some members of the cast were disappointed in the ending but some viewers will think it’s only right and proper.

There are some plotholes in the film, which is so painfully ‘Eighties it looks a bit dated now, but the plotholes, I suppose, are of secondary importance compared to the look of the thing. Willem Dafoe makes a brief cameo as a man who wants to use the pay-phone after Susan Sarandon’s finished with it and the violin-playing kid is really, really annoying. ‘Eighties band BAUHAUS make an appearance and the monkey experiments stuff gets quite confusing after a while. I didn’t enjoy that bit too much.

The first half-hour drags a bit and things don’t really get going until David Bowie is locked away in his coffin, but the hour or so after that is required viewing for fans of the vampire genre. Based on the novel by Whitley Strieber, there’s not one mention of the ‘v’ word in the film, however, which is interesting. Watch this if you enjoy vampire flicks. If you can overlook the flaws, it’s a real little cracker, I promise you.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

THE LAST MAN ON EARTH. (1964) REVIEW BY SANDRA HARRIS. ©

lastMANonEARTH

THE LAST MAN ON EARTH. (1964) BASED ON THE 1954 NOVEL ‘I AM LEGEND’ BY RICHARD MATHESON. DIRECTED BY UBALDO RAGONA AND SIDNEY SALKOW. STARRING VINCENT PRICE, FRANCA BETTOIA, EMMA DANIELI AND GIACOMO ROSSI-STUART. REVIEW BY SANDRA HARRIS. ©

‘Come out, Morgan…!’

(It’s September 2019 and I’ve just finished reading Richard Matheson’s superb short horror novel ‘I AM LEGEND,’ the kind of book I still haven’t given up hope on writing myself one day. Not necessarily about a vampiric apocalypse, but on any horror topic that grabs me.

Books like PSYCHO, ROSEMARY’S BABY, THE EXORCIST, JAWS, A KISS BEFORE DYING, THE BOYS FROM BRAZIL, CARRIE, PICNIC AT HANGING ROCK, DAY OF THE TRIFFIDS and THE MIDWICH CUCKOOS provide huge, huge inspiration. A book like that that lives on after you die, that people never get tired of reading or watching in film format, is probably most horror writer’s ultimate goal.

Anyway, the book I AM LEGEND was adapted so faithfully by the film THE LAST MAN ON EARTH that I felt there would be no need to bother you good people with two reviews, one for the book and one for the film. Instead, I’m choosing to share again the review I wrote for THE LAST MAN ON EARTH back in 2016, the year I discovered it for the first time.

I’ll go out on a limb here and say that I think this might actually be the best film that horror icon Vincent Price ever made, even though his numerous horror movies for Roger Corman in their Edgar Allan Poe cycle were all beyond fantastic.

It’s just such a grimly bleak and realistic performance he gives in THE LAST MAN ON EARTH that you get to see his ability to really act, as well as his undoubted talent for hamming it up in a doublet and tights, lol. So here we go, anyway, and I hope you enjoy it. ‘Come out, Neville…!’)

This is a brilliant sci-fi horror film from the era that brought us loads of equally great sci-fi horror films. Yep, it sure was a good era for the old sci-fi horror…! I came across it on a box-set I bought back in 2013 for only a tenner called 100 GREATEST HORROR CLASSICS. One hundred old horror movies for only ten quid? Hell, yeah…!

Other films on the set include THE PHANTOM OF THE OPERA and THE HUNCHBACK OF NOTRE DAME, both starring Lon Chaney Sr., George A. Romero’s zombie classic NIGHT OF THE LIVING DEAD, Fritz Lang’s METROPOLIS and Alfred Hitchcock’s first ever movie, THE LODGER, starring Ivor Novello. Yes, I think it’s that Ivor Novello; who else could it be…?

Anyway, THE LAST MAN ON EARTH manages to be both brilliant and extremely grim at the same time. Horror icon Vincent Price plays Dr. Robert Morgan, a man who has survived a terrible wind-borne plague that’s killed off nearly everyone on earth, except for those whom it turned into bloodthirsty vampiric mutations. These monstrosities become active at night. During the day, they sleep…

Poor old Robert spends the daylight hours tracking down the mutants and staking them through the heart before chucking ’em in a giant pit of fire. Well, I guess he just wants to be sure they’re really dead. Fair enough, lol.

At night, he holes himself up in his gaff while the pathetically weak vampires, including his former work colleague Ben Cortman, bang on his door and beg him feebly to come out so that they can kill him and drink his blood. Naturally, Robert declines this delightful offer. Maybe he likes his blood where it is. I’d be the same myself…!

In any case, his existence as literally the last man on earth is so bleak that the viewer wonders why he doesn’t just end his own life and be done with it. Maybe he’s afraid that he’ll become one of the Walking Un-Dead like the monstrous mutations he grapples with every day and night. Also, we mustn’t forget that the instinct for survival is very strong. There’s always the chance/hope that things might, one day, return to normal. That’s what keeps us going when times are tough.

One miraculous day, however, while out doing his ’rounds,’ Dr. Morgan spies a sight that he never expected to see again; a human female! Is she real? Is she infected with the plague that turned the mutants into the bloodsucking demons they’ve become? And, most importantly, how will this seemingly chance encounter impact upon the already stressed-out Dr. Morgan…?

I think that this film works so well because it taps into those fears we all secretly have. You know, the ones about being one of the sole survivors of some kind of apocalyptic disaster that leaves us on our own battling against zombies and mutants? I’ve always had that fear at the back of my own mind, anyway.

There’s this horrible scenario I think about sometimes where I’m alone in my house in just such a post-apocalyptic situation as we’ve discussed and a mis-shapen shadow suddenly falls across my window. Then I hear a scrabbling at the door. I stay perfectly still but the noise continues. Then there’s the unmistakable sound of someone breaking in… It’s all very ZOMBIE FLESH-EATERS (Lucio Fulci), isn’t it?

Another thing that scares people is the thought of a plague or pandemic that wipes out half the world’s population. We’ve had worrisome thoughts like that about different epidemics over the decades: AIDS, swine flu, avian flu and the Ebola virus, to name a few. I’ve literally just read online, actually, about something called the ‘Zika virus.’

It’s not outside the bounds of possibility that something like a plague/pandemic could happen. That’s why films like OUTBREAK, QUARANTINE and RIGHT AT YOUR DOOR are so popular. It’s because, one day, it might just happen here…

I think THE LAST MAN ON EARTH must have been the inspiration for that TREEHOUSE OF HORROR episode of THE SIMPSONS in which Homer Simpson becomes ‘the last man on earth’ after a nuclear bomb wipes out most of the rest of the world. He isn’t remotely bothered by being surrounded by rotting corpses. He actually enjoys having the world to himself for a bit, haha. Until he finds himself being chased by freakish skin-eating mutants, that is…!

Vincent Price puts his heart and soul into his performance as the poor beleaguered Dr. Robert. Did I mention that I met his daughter Victoria Price in November 2015, by the way? I do try to mention that quite regularly, lol. She was having a meet-and-greet at the Irish Film Institute here in Dublin to promote the cookery book her dear old dad co-wrote with her mum and she was absolutely lovely and down-to-earth.

I chose to buy her biography of her dad, though, rather than the cookery book. It was a real whopper of a coffee-table book and it cost an even more whopping sixty quid…! Quite honestly, I’m not much of a Nigella Lawson, anyway. I prefer to spend as little time in the kitchen as I can get away with.

The flashback scenes in THE LAST MAN ON EARTH are excellent and the scenes with the puppy are just heartbreaking. The fact that the film is in black-and-white highlights the starkness of Dr. Robert’s awful situation. If you want to see how he copes with things, watch the film. It’s superb. And don’t answer the door after dark under any circumstances. It might be the mutants…

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

THE RETURN OF DRACULA. (1958) REVIEW BY SANDRA HARRIS. ©

return-of-dracula-1958-rachel-tim-norma-eberhardt-ray-stricklyn-review

THE RETURN OF DRACULA. (1958) DIRECTED BY PAUL LANDRES. STARRING FRANCIS LEDERER AND NORMA EBERHARDT.

REVIEW BY SANDRA HARRIS. ©

‘Jenny, I’ve come to wake you!’

‘The world shall spin and they all shall die, but not us.’

‘I’ve got to close the window! He’ll hear us, he’s outside!’

‘I had the strangest dream last night, only I can’t seem to remember it.’

‘You’re already balanced between two worlds. Eternity awaits you now.’

‘I can free your soul, Jenny. I can take you from the blackness into the light.’

Any film that starts with a group of men pursuing a vampire through a graveyard and right into his crypt with the intention of driving a stake through his heart is okay in my books. This is a little black-and-white curiosity I discovered on YouTube while searching for Dracula stuff. The Jack-Palance-as-Dracula film wouldn’t start for me so here we are, lol.

THE RETURN OF DRACULA is quite similar in storyline to Alfred Hitchcock’s 1943 movie, SHADOW OF A DOUBT, in which a mysterious uncle (Joseph Cotten) returns to the bosom of his small-town American-as-apple-pie family, only to spread a putrid fear, dread and uncertainty through its ranks.

The pretty young daughter of the family, played by Teresa Wright, is a romantic at heart who yearns for a better life than she thinks she’ll have in her small-town existence. She is hugely attracted to the mystery and glamour that emanates from the newcomer, but the best thing she can do, for herself and her family, is to stay as far away from him as she can. As is the way in films though, she doesn’t discover this fact until it’s nearly too late. Where would be the fun otherwise?

In THE RETURN OF DRACULA, a mysterious, middle-aged Eastern European man who claims to be a Mrs. Cora Mayberry’s long-lost cousin, Bellac Gordal, turns up in the American small town of Carleton. They’ve been expecting him and they’re very excited about the homecoming. Cora, her teenage daughter Rachel, her young son Mickey and Rachel’s boyfriend Tim (he drives a convertible!) all make the tall, dark speaks-with-an-accent stranger as welcome as they know how.

Is being a vampire compatible with family life? (Ah, come on, you already know he’s a vampire! How is that a spoiler?) Not really, no. Cousin Bellac keeps the most irregular hours, doesn’t sleep in the bed provided for him but in a mist-filled coffin in a nearby abandoned mine and can’t abide mirrors or crucifixes. He’s not too keen on the family moggy, Nugget, either, but then in another way, he’s a little too keen on him, if you take my meaning.

Cousin Bellac is supposed to be a talented artist, but he seems to have only painted one picture during his stay with the Mayberrys, and that one painting is deeply disturbing. No-one knows where he goes on his so-called ‘painting trips’ or what he does on them. He plays his cards tight to his chest and doesn’t encourage familiarity, except from Rachel, for whom he has great things in mind. I’m sure you can guess what things.

Rachel, the blonde All-American daughter, is an aspiring fashion designer and she is instantly attracted to the suave, sophisticated Eastern European artist, who makes her boyfriend Tim seem like a crude, inexperienced callow youth by comparison. She even goes off Tim for a bit, much to Tim’s mystification, while Cousin Bellac is around.

Rachel introduces Cousin Bellac to her friend Jenny. She more or less hands him Jenny on a plate. ‘Oh, Jenny’s blind and bedridden and helpless and you can do whatever you like to her, and she’s ever so sweet and she’s just DYING to meet you, I’ve told her all about you!’ Well, congratulations, Rachel, old girl. You’ve just given the vampire his first victim, all trussed up like a turkey, and you’ve even made the dressing and all the trimmings yourself as well.

There are some spooky scenes when the Immigration officer looking into Cousin Bellac’s papers and his legal right to be in America comes a cropper. A pitiful voice calls for help by the railway track, and a few gruelling seconds later, Mr. Immigration Officer is a blood-soaked corpse. And, of course, there’s no-one around. No-one saw or heard anything…

I love the bit where the white-shrouded woman skips lightly back to her coffin in the super-cool Receiving Vaults before the first light of day breaks over the horizon. She’s very obviously the Lucy character from the Bram Stoker Dracula novel, who gets some of the creepiest and most electrifying scenes in the whole book and also in any film or television dramatisation.

There’s one splash of bright-red blood, very reminiscent of Hammer Horror across the pond, in this black-and-white film, but I won’t tell you whose it is. 1958, of course, was the year when Hammer Film Studios released their own DRACULA (THE HORROR OF DRACULA in the United States), with horror legend Christopher Lee in the title role. Several more DRACULA films followed in the next decade and a half, and they make up a fine body of work in total.

Did it hurt the Dracula legend, bringing the Fanged One to small-town America, rather than keeping him amongst the crumbling abbeys of England or, even better, the castles of his native Transylvania? No, I think it worked well enough.

After all, SON OF DRACULA starring Lon Chaney Jr. brought Count Dracula to the swamps and plantations of the Deep South of America, and that was a terrific, if terribly gloomy, film. Not much in the way of comic relief there. ‘I see you living in a grave, married to a corpse.’ See what I mean…?

Why is this film called THE RETURN OF DRACULA? I honestly don’t know. Was there a previous film? Again, I don’t know. I’m guessing too that this film isn’t very well known. It’s still worth at least one watch, though, as it has a certain small-town charm and, as I said at the start, it’s a real little curiosity. At eighty minutes long as well, it won’t take up too much of your time. Go for it.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

THE SPANISH VERSION OF DRACULA. (1931) REVIEW BY SANDRA HARRIS.©

spanish dracula carlos 2

THE SPANISH VERSION OF DRACULA. (1931) BASED ON THE BOOK BY BRAM STOKER. DIRECTED BY GEORGE MELFORD. PRODUCED BY CARL LAEMMLE JUNIOR AND PAUL KOHNER. DISTRIBUTED BY UNIVERSAL PICTURES.

STARRING CARLOS VILLARIAS, LUPITA TOVAR, BARRY NORTON AND MANUEL ARBO.

REVIEW BY SANDRA HARRIS. ©

‘He cut open a vein in his arm and forced me to drink from it.’

Sometimes when I watch this film I almost fancy that I prefer it to the Bela Lugosi version, and the Bela Lugosi version is one of my all-time Top Three favourite film versions of the story ever. (It keeps company with Hammer’s 1958 DRACULA starring Christopher Lee, and Werner Herzog’s NOSFERATU THE VAMPYRE from 1979. It’s in very good company, I hope you’ll agree.)

This Spanish version was made concurrently with the Bela Lugosi/UNIVERSAL version. It was even made on the same sets, except that the Spanish version was made by night and the English version by day. As one cast and crew trooped out, finished for the day, another cast and crew would troop in, ready for their night-shift using some of the most memorable and iconic sets in cinema.

Carlos Villarias, the Spanish El Conde Dracula, seems at first glance almost too smiley and goofy-looking to play the most evil villain in cinema history, but he soon proves himself more than capable of the level of menace required to play such a deliciously pernicious character.

It’s true that he lacks the handsome sophistication of Bela Lugosi and Bela’s Eastern European air of mystery, but he makes a damned good Dracula just the same. I would even say that his performance is the equal of Bela’s, just slightly different obviously as he’s a different person/actor and hails from a different country, a warmer country where the people are reputedly of a more passionate nature than some other of their European counterparts.

The story moves along the same lines as the English language version, with Renfield the estate agent’s clerk travelling to Dracula’s Castle in the mountains in Transylvania against the advice of the locals, who themselves wouldn’t go near the place if you paid them.

He does manage, however, to get a carriage-driver to get him to the infamous Borgo Pass at midnight, where Dracula’s carriage awaits and conveys Renfield to the castle. He finds Count Dracula- El Conde Dracula- a little eccentric but charming and cordial, even if his castle is ramshackle and creepy and belongs to the Dark Ages.

Renfield has, as requested, brought the Count the deeds to Carfax Abbey, Dracula’s intended new home in England. Dracula informs him that they’ll be leaving for England by ship on the morrow, along with Dracula’s ‘three boxes,’ the only luggage the strange Count intends to carry with him.

If he was bringing his three wives, of course, the level of luggage might be an entirely different story. You know women, lol. There’d be hat-boxes and cosmetic boxes and jewellery boxes and boxes of knick-knacks and rails of dresses in plastic safety coverings and the whole shebang. That ship would have sunk like the Titanic.

By the time the ship docks in England, Renfield’s mind is all but destroyed by Dracula’s special ‘kiss’ and he’s clapped straightaway into Dr. Seward’s Sanatarium for the mentally ill. The security there, mind you, is every bit as lax as in the English version of the film and he’s allowed to wander the house and grounds as he pleases, pursued half-heartedly by Martin his minder.

He even ventures into the private quarters of the wealthy Dr. Seward and his family, which consists of just himself and his beautiful daughter Eva. Renfield is now all about the catching and devouring of flies and other small creatures with blood in them- ‘Blood is life!’- and getting excited about the proximity of his ‘Master,’ whom he both adores and fears.

Dracula, meanwhile, has contrived an introduction at the theatre to his neighbours Dr. Seward and Eva, and also Eva’s best friend Lucia Weston and Eva’s fiancé Juan Harker. All four of them are impressed by the Count’s courtesy and good manners.

Before long, Lucia, who’s fascinated by the enigmatic foreign Count and his mysterious remarks on the subject of death, has succumbed utterly to the Count’s blood-sucking ways and become a vampire too, one of Dracula’s terrible ‘cult of the un-Dead…’

Now the ravishing Eva is starting to feel unwell also and eminent physician Dr. Van Helsing is extremely quick to diagnose ‘vampirism.’ His suspicions are confirmed when the suave Count Dracula pays a social visit to the Sewards and Dr. Van Helsing is able to observe that the Count casts no reflection in a mirror. This, of course, is one of the sure signs that someone is a vampire.

That, and a terrible fear of garlic and wolfbane, the two plants guaranteed to keep the vampires away, and also of all or any religious iconography, especially crosses. If you don’t have a cross handy, don’t worry your head about it.

You can always fashion one out of two sticks, or two pokers, or two matches, or even two of your own fingers. It’s only the merest suggestion of the cross that’s needed, according to some Hammer films, lol. Even the shadow of a cross will do at a pinch. (See the finale of BRIDES OF DRACULA…!)

Dracula is pissed off by Van Helsing and tries to bring the doctor’s mind under his control but Van Helsing only just manages to hold his own. It’s down to the good doctor, then, and Juan Harker, Eva’s distraught fiancé, to try to save Eva’s immortal soul from Count Dracula.

Eva is his real object. Lucia was just the starter, the aperitif, the warm-up act. It’s Eva he wants to be his wife, his companion, down through all the long, cold millenia to come. Count Dracula’s intended monstrous act of selfishness will cost Eva her life with her boyfriend and father, and in the end her soul too.

The sets and costumes are gorgeous, and the final scenes, set in the eerie dungeons of Carfax Abbey, are as thrilling as in the English language version. The final scenes are longer here, however, and the ending isn’t as sudden as in the Bela version.

There’s even a nice extra touch in the Spanish film in that Dr. Van Helsing keeps a promise he made to Renfield to free that poor old fella’s soul from Dracula’s rancid grasp from all eternity.

The Spanish film is every bit as atmospheric and fog-wreathed as the Bela Lugosi version and, because it’s a good thirty or so minutes longer, you get a bit extra into the bargain. By the end of it, you don’t even query why everyone in England is speaking such fluent Spanish, lol. And Spanish is such a lovely, musical mellifluous language as well, and some of their words sound very similar to our own, you’ll have great fun figuring out which ones I mean.

Lupita Tovar is wonderful as Eva Seward, and in fact she only died recently, having lived to be well over the hundred-year mark, a remarkable feat in itself. I was delighted to find that she was still alive when I first discovered the existence of ‘The Spanish Version Of Dracula’ a couple of years ago, and then gutted when she died not long after in 2016. Still, fancy living to such a ripe old age! Maybe Dr. Van Helsing didn’t manage to purge all of Dracula’s black magic from her veins after all…

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

NOSFERATU THE VAMPYRE. (1979) REVIEW BY SANDRA HARRIS. ©

nosferatu 1979 jonathan castle

NOSFERATU THE VAMPYRE (NOSFERATU: PHANTOM DER NACHT/NOSFERATU: PHANTOM OF THE NIGHT.) 1979. BASED ON BRAM STOKER’S ‘DRACULA.’

DIRECTED AND CO-PRODUCED BY WERNER HERZOG. SCREENPLAY BY WERNER HERZOG.

MUSIC BY POPOL VUH. CINEMATOGRAPHY BY JŐRG SCHMIDT-REITWEIN. RATS TRAINED BY MAARTEN’T HART.

STARRING KLAUS KINSKI, ISABELLE ADJANI, ROLAND TOPOR, WALTER LADENGAST AND BRUNO GANZ.

REVIEW BY SANDRA HARRIS. ©

Dedicated to Bruno Ganz, who passed away last week.

‘The master is coming.’

‘The hold is teeming with rats.’

‘Will you come to me, and be my ally?’

‘Mother Superior, stop the black coffins…!’

‘The cause must be gone into with scientific thoroughness.’

‘We are delivering this man, who appears to belong to this house.’

‘Go now, to Riga. The army of rats and the Black Death go with you.’

‘In the evening, the mate who had the watch disappeared without trace.’

‘Though the vampire is an unnatural being, he must obey some natural laws.’

‘If a woman who is pure of heart can make the vampire forget the cry of the cock…’

‘Join us, please. We have all caught the plague, and must enjoy each day that is left.’

‘I know who you are from Jonathan’s diary. Since he has been with you, he is ruined.’

This film doesn’t have a silent psychopath in a mask stalking half-dressed women and unsuspecting men with his enormous butcher knife. It doesn’t have a Mother-fixated madman stabbing people to death in the shower while dressed in women’s clothing, and neither does it have a well-spoken maniac who likes to eat people’s internal organs with some fava beans and a nice Chianti.

In this sense, maybe, it’s not what some people think of when they think of horror movies. What the film does have, however, is a lead character of such subtlety, cruelty and even human-like frailty that he surely deserves his standing as one of the creepiest and most notable horror icons of all time: Nosferatu The Vampyre.

This film is possibly my favourite horror film of all time, jostling for the coveted first place alongside Anthony Schaffer’s THE WICKER MAN (1973) and Alfred Hitchcock’s PSYCHO (1960). These would be my Top Three Desert Island films, although there are days when I’d genuinely considering just bringing three copies of Herzog’s NOSFERATU, just to be on the safe side…!

The film was written, produced and directed by Werner Herzog, a German film-maker who made his first movie in 1961 at the age of nineteen and who now has more than sixty feature and documentary films to his name.

It is one of five movies he made with German actor Klaus Kinski, with whom he enjoyed a well-documented relationship that was both productive and wildly tempestuous, given the intensity and passionate nature of each of the protagonists.

This is Herzog’s best film, in my own personal opinion, and Klaus Kinski’s best as well. (Although I loved him also in Sergio Leone’s dusty, gritty and sweaty spaghetti Western, FOR A FEW DOLLARS MORE.) 

Bruno Ganz, Switzerland’s most lauded actor who sadly passed away a few days ago, is superb in NOSFERATU THE VAMPYRE and my personal favourite of all the screen Jonathan Harkers. This and DOWNFALL or DER UNTERGANG (2004), in which he plays a certain Adolf Hitler in his last days in the bunker, are his two best performances, again in my own humble opinion.

When people think of Nosferatu, their minds frequently conjure up an image of Max Schreck who played him so brilliantly in the silent production of nearly a century ago, and fair play to old Maxie, he did a cracking job but for me, Kinski is Nosferatu.

He is the bald-headed, sunken-eyed, strangely melancholy creature of the night who resides in his crumbling castle in the Carpathian mountains and feeds off the blood of any humans unfortunate enough to cross his path.

He is desperately lonely and would nearly welcome death at this stage, as an alternative to spending yet more centuries in terrible isolation, craving company but scaring away anyone with whom he comes in contact. You actually feel sorry for the vampire in this film because Kinski plays him so subtly nuanced and so much more of a tragic figure than previously portrayed.

It’s well-known enough at this stage that Werner Herzog, a very clever man indeed, thought that F.W. Murnau’s 1922 film NOSFERATU was the best thing to come out of Germany since Oktoberfest, lol. This was the version of Bram Stoker’s DRACULA that Herzog had in mind when he made his own film version.

It’s as magnificent a tribute as has ever been made. Though I’ve always loved the HAMMER HORROR DRACULA movies starring the iconic and handsome Christopher Lee, I don’t think that anyone but Herzog himself has made a better or more visually stunning film of Bram Stoker’s legendary vampire novel. Every shot is a work of art. Some of them are so beautiful they could even be paintings. What am I saying? They could all be paintings.

The film begins with Jonathan Harker, a clerk in a real estate company, being told by his employer, the decidedly odd and giggly Mr. Renfield, that he must cross the Carpathian mountains to bring legal papers to the rich and reclusive Count Dracula. The Count, you see, has decided to buy a house in their area, the pretty and picturesque town of Wismar in Germany.

Jonathan’s wife, Lucy, played by the stunningly beautiful Isabelle Adjani, begs him not to go as she has had premonitions of the most profound evil but Jonathan disregards her fears and sets off blithely on his journey. I love the way he more or less says to his wife:

‘I’m off now, dear, off to the land of wolves and robbers and phantoms and spirits for several weeks, possibly forever. Well, cheerio, then…!’

The thoughtless git. It certainly seems as if no man, however bang-tidy his missus is, is going to turn down the chance of a business trip that gets him out of the house for a bit. I never met a man yet who’d say no to the chance of a few weeks without the old trouble-and-strife, the wife.

Anyway, the film is worth watching solely for the shots of the glorious but lonely countryside through which he passes on his way to Count Dracula’s castle and also for the superb musical score by German electronic band Popol Vuh.

Check out the opening credits as well, by the way, in which the deliciously spooky music plays while the real mummified bodies (which will creep the living daylights out of you because they’re the real deal!) are put on display for our delectation and edification. That music is repeated throughout the film and I can assure you that it will haunt you for the rest of your days. If you have a soul at all…

As Jonathan nears the castle, he is warned by the locals to turn back and go home before he loses his life but he has come too far to turn back now. Disquieted and edgy, he continues on his way.

The fantastic music reaches a crescendo as he finally enters the courtyard of Count Dracula then fades away as the giant castle doors creak open to reveal… Nosferatu himself, standing at the top of the steps with a smile of quiet welcome on his colourless face.

For Jonathan, events take on a surreal appearance from this point onwards. Nosferatu begins to feed on his blood from the first night of his arrival. While poor Lucy frets and works herself up into a right old state about her absent spouse back in Wismar, Jonathan is trapped in Nosferatu’s castle of mould-stained, whitewashed walls and silent, dusty rooms. He is powerless to prevent the vampire from feasting on him and gradually sapping his strength and will.

There are some moments of genuine heartstopping horror in this part of the film, which incidentally is my favourite part. Check out the moment during Jonathan’s first meal at the castle when he realises that his host is a monster. Talk about awkward. What’s the etiquette for this situation, for crying out loud…?

I dare the viewer not to jump when Nosferatu appears soundlessly in Jonathan’s bedroom in the dead of night, his claws expanding as he moves in for the kill, or when Jonathan pushes back the slab of rock in the dungeon to reveal a sleeping Nosferatu, claws folded and eyes wide open, staring at nothing. Jonathan does some pretty good backing away in this situation, check it out.

The latter half of the film sees Nosferatu travelling to Wismar by sea with his black coffins and his plague of rats. The scene where the ship of death sails silently up the canals of Wismar while the unwitting inhabitants of the town slumber peacefully in their beds sends a shiver down my spine every time I see it. In no time at all the town is overrun with rats and the plague.

Check out the scene where one of the rats (I believe eleven thousand were used in all) appears to be making a grab for personal glory by standing up as tall as he can make himself and appearing to sing his heart out, X FACTOR-style. So darling, but I still wouldn’t want to have to accommodate all eleven thousand of the little beggars while they’re on location, would you? Can you imagine the breakfast orders?

Any-hoo, crazy old Mr. Renfield, who is revealed to be Count Dracula’s loyal servant, is beside himself with happiness at the arrival in the town of the ‘Master.’ These are trying times indeed for Lucy Harker, however. Jonathan has found his way home but he no longer recognises her and sits in his chair all day giggling and chattering nonsense, his mind and body destroyed by Dracula.

The love-starved and lonely Nosferatu comes to Lucy in her bedroom and begs her to be his concubine and companion down through the centuries to come, but Lucy holds fast to her love for Jonathan and sends the Count away empty-handed. It’s a good offer, given that she’s more or less down one husband now. I think she should have taken it, personally. It’s tough being a single woman in the time of the plague…!

Now we come to the climax of this gorgeously-shot film. I’d better warn you, there will be spoilers, but I’m guessing that most horror movie fans know the DRACULA story inside-out and upside-down by now anyway.

The town of Wismar has been devastated by Nosferatu and his delightful plague of rats. The scene where some of the townspeople gather for a grotesque parody of a ‘last supper’ in the town square while the rats climb all over them is a chilling one.

The music here is truly awe-inspiring. I get chills every time I listen to the hauntingly beautiful song that’s playing. It’s a traditional Georgian folk song called ‘Tsintskaro’ and it’s the most beautiful piece of music ever used in a film.

Lucy tries to tell the town physician, Dr. Van Helsing, that Nosferatu is the reason for all the death and destruction in the town of Wismar but the good doctor is a man of science and refuses to believe in the existence of such supernatural creatures as vampires. In this sense, he’s kind of the opposite of his namesake in every other DRACULA movie, in which Van Helsing is actually the vampire-hunter, not the sceptic.

When Lucy’s closest friend and neighbour, Mina, is murdered by Count Dracula, Lucy does the only thing left to her to do. She offers herself to Nosferatu, in the hope that she can keep him occupied throughout the night and make him ‘forget the cry of the cock’ in the morning, thereby causing him to be killed by the first rays of the morning sun. He was clearly listening too hard to the cry of his own cock, heh-heh-heh.

The scene where Nosferatu comes to Lucy in her bedroom and finally feeds on her delicious blood is erotic in the extreme. It always brings back my ‘horny,’ last spotted around the time of the break-up of my last relationship, legging it into a taxi-cab with an overnight bag and an airplane ticket.

Lucy is dressed all in white, her bedclothes are white and delicate flowers in shades of pastel sit on the night-stand and litter the bed. The Vampyre gently pulls back her clothing to look at her body (who says vampires only dig blood?), then he rests his claw on one full rounded breast as he lowers his head to her neck and begins to suck.

They remain locked together in a beautiful and moving sexual congress all night, and when the first rays of the sun begin to filter into Lucy’s bedroom the following morning, she pulls Nosferatu back down to her once more.

The besotted Vampyre thus ‘forgets the cry of the cock’ and dies. Awfully tough luck, old boy. Lucy listens to his death agonies with a smile on her face and then, knowing that she has saved the town of Wismar from the horror of Count Dracula, she closes her eyes and dies herself.

There’s a great little twist at the end which I won’t tell you about here. You’ll just have to go and watch the film for yourself, which I hope you will anyway. (Yeah, I know I’ve told you guys nearly everything else but we’ve gotta draw the line somewhere…!)

Personally speaking, as I may have hinted earlier, if I had to choose only one film to watch for the rest of my life, it would be this one. I want to be buried with it. In the absence of Nosferatu himself coming to me in person in my flower-strewn bedroom and bending his head to my newly-washed neck, then I want to be buried clutching my copy of the film, the coffin lid closing on the sight of my fingers laced around his deathly-white face on the front of the DVD box. And when you watch this film, I can pretty much promise you that you will too.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

VAMPYR. (1932) REVIEW BY SANDRA HARRIS. ©

Vampyr leone

CARL THEODOR DREYER’S ‘VAMPYR.’ (1932) BASED ON JOSEPH SHERIDAN LE FANU’S WRITINGS, ‘IN A GLASS DARKLY.’ DIRECTED BY CARL THEODOR DREYER.

STARRING JULIAN WEST (BARON NICOLAS DE GUNZBURG), MAURICE SCHUTZ, RENA MANDEL, SYBILLE SCHMITZ, JAN HIERONIMKO, HENRIETTE GERARD AND ALBERT BRAS.

REVIEW BY SANDRA HARRIS. ©

‘This is the phantasy-experience of young Allan Gray, who engulfed himself in studies of demonology and vampire-lore. Preoccupation with the crazed ideas of past centuries turned him into a dreamer and a fantasist, lost at the border between fantasy and the supernatural.’

This surreal, fog-wreathed German-French early talkie, with so few words of dialogue that it could nearly pass for a silent movie, is the most gorgeous, ethereal and dream-like old vampire film I think I’ve ever seen.

It doesn’t have a linear storyline, in which, say, a Jonathan Harker is ordered by his employer to travel to Transylvania, there to meet with a Count Dracula to discuss a property the Count is desirous of purchasing in England, and then everything that happens after that follows a straight enough course to the climax.

Rather, it’s non-linear and dreamlike, and the lines between fantasy and reality are very much blurred. Also, some of it makes little or no sense but it looks so good ‘n’ spooky that it doesn’t matter in the slightest.

It has a sub-title of THE STRANGE ADVENTURES OF ALLAN GRAY, Allan Gray being played by the handsome young aristocrat, Baron Nicolas De Gunzburg, who put up the money for the production in return for being allowed to play the lead role. Well, if it’s your money, then I guess you can ask for that privilege…!

Allan Gray is first seen travelling to an inn close to the village of Courtempierre with his fishing tackle slung over his shoulder. He locks his bedroom door at night because of very uneasy feelings he has about the place, but the sanctity and safety of his chamber is nonetheless breached later that night by a terrified old man.

‘She mustn’t die, do you hear?’ he says cryptically before depositing a wrapped parcel on Allan’s nightstand. ‘TO BE OPENED UPON MY DEATH,’ the old man has written rather ominously on it. It is an ancient book on vampire lore, and the man is the owner of the local chateau, who is at his wits’ end because he and his two adult daughters are under siege by vampires.

Next day, Allan finds this fabulous, rather run-down old chateau, but the master, his nocturnal visitor from last night, has just died in mysterious circumstances. Was he already dead when he came to Allan in the night, begging Allan’s aid for his two daughters? According to the book of ancient vampire lore, much, much stranger things have happened. Allan is involved now, and the fate of the chateau-dwellers is now to be his fate too.

The master’s daughter Leone is confined to bed, her life-blood being drained away from her bit by bit by the local vampire. Two marks like the bite of a rat can be seen on her neck. The scariest sequence in the whole film is when she rises from her sickbed and her eyes follow the progress of an unseen entity around her sickroom, even on the ceiling, while a manic, evil grin adorns her face. Her horrified sister Gisele, played by a beautiful young woman who worked as a Paris photographer’s nude model in real life, looks on helplessly.

Gisele is glad to have Allan’s help with her dreadful problem. The local doctor, played by a Polish poet who’s a dead ringer for Nobel prize-winning scientist Albert Einstein, is in league with the vampire so he’s deliberately not being much help at this terrible time.

The old servant at the chateau is really the hero of the hour. He reads the old book of vampire facts and thus learns what must be done if the chateau, and even the village, is to be saved from this demonic plague of creatures of the night.

He spearheads the operation of tracking the vampire down to an old grave in the churchyard and staking it through the heart with the help of Allan in a scene that bothered the censors greatly back in 1932. He even has a nasty surprise in store for the evil doctor in another scene that drew the censors’ wrath down on the film back in the day.

While Allan is sitting on a bench in the cemetery waiting for the trusty family retainer to bring the staking instruments, he drifts off into two Allans and has an horrific nightmare. He is in his coffin now, not dead but merely paralysed by nefarious means, and he is fully conscious while watching a man above him apply the turnscrew to the coffin nails and lock him away inside his forever-box.

The vampire also looks triumphantly down on him as his coffin screws are nailed down. Then the paralysed Allan sees the sky and the trees above him for the last time as his coffin is carried in a solemn procession to the cemetery. It’s a terrifying scene and one that could easily have inspired film legend Roger Corman when he made THE PREMATURE BURIAL for American International Pictures a few short decades later.

A few random facts about the film now, if you will. No sets were used, the whole thing was shot on location in a real inn, a real but marvellously derelict chateau, a real disused ice-factory (there’s nothing spookier than an abandoned factory, unless it’s an abandoned hospital or mental asylum) and a fully-operational plaster works for the grand finale.

The chateau looks truly magnificent in the film. I especially love the room randomly discovered by Allan in his wanderings (it’s not in the chateau, I think) which contains the old dusty books, the skull and what looks like a child’s skeleton standing intact upon a window-sill. If that’s not a room where you can practise your black magic or study the occult and the dark arts, then I don’t know what is. The whole film is stunning to look at. Catch it if you can at all, that’s my advice to you.

‘Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant, the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because WE have changed and the objects ARE as we conceive them. That is the effect I want to get in my film.’

Carl Theodor Dreyer on describing to his crew the kind of film he wanted to make.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor