1970s, British cinema, Foreign, Horror/Eerie

The Vampire Lovers (1970) / Lust for a Vampire (1970) / Twins of Evil (1971)

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Directors: Roy Ward Baker ; Jimmy Sangster ; John Hough

By Roderick Heath

Ingrid Pitt’s death this week at age 73, old but still too young, sent all us horror movie buffs into mourning. Pitt was a legendary emblem of the saucy edge of early ’70s cinema: there she was in all the old genre books and fan magazines, usually with fangs and rotund breasts protruding as the very image of the unleashed and voracious feminine libido. The Polish-born Pitt, real name Ignouskha Petrova, was actually an affecting and intelligent actress, one who had made her stage debut playing in Brecht, and who could bring both emotional integrity and a spry good humour to her roles. She made a breakthrough in 1968’s neo-swashbuckler Where Eagles Dare, a film that was, ironically, uncomfortable for her to make because as a child, she had survived incarceration in a concentration camp, and the proliferation of German uniforms on the set brought back hideous memories for her. Her part as Heidi, a German barmaid who’s actually a British agent, was nominally empowering (if not nearly as much as costar Mary Ure’s role as a full-on action chick) as she rendered Nazi opponents and Allied helpmates equally delirious at the sight of her overflowing décolletage. It was a small part, but an eye-catching one, and almost inevitably Pitt, with her nonspecific accent and mature, fleshy beauty, seemed born to be a star for Hammer Studios. She was chosen to play the leading role in their adaptation of J. Sheridan LeFanu’s legendary novella Carmilla, which was entitled The Vampire Lovers upon release in 1970.

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Pitt’s time as a horror star was actually very brief: the success of The Vampire Lovers made her a name for a moment, but after the following year’s Countess Dracula and The House That Dripped Blood, all that was over. Countess Dracula would seem her best showcase. Her brave performance in a difficult role as a character who blends the cruellest narcissism with fretful anxiety works excellently as a metaphor for diva stardom itself as she desperately tries to soak up the vitality of those around her to sustain her waning youth and beauty. But Countess Dracula is an extremely uneven film, and the director, Peter Sasdy, had Pitt’s voice dubbed over by another actress, an act which incensed Pitt sufficiently to make her shove Sasdy into a swimming pool at a party. It’s still easy to admire Pitt in that film, but her most unsullied vehicle remains The Vampire Lovers, a work that momentarily reenergised Hammer’s waning clout as makers of horror movies and which immediately spawned two pseudo-sequels, Lust For A Vampire and Twins of Evil. The three films form the loose “Karnstein trilogy.” I finally caught up with Lust For A Vampire, in which Swedish actress Yutte Stensgaard took over Pitt’s role as Carmilla, only a couple of days before hearing of Pitt’s death.

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The Karnstein trilogy is often smirkingly recalled as an epitome of a cheerful, campy brand of horror. These entries awkwardly grafted a resolutely soft-core eroticism, already close to being corny in 1970, onto the standard tropes of Hammer’s gothic brand, treading close to artless pastiche that occasionally resembles the strained naughtiness of the Carry On films, all tits and sharp teeth. This reputation is correct to some extent, for the three films strain and often fall to pieces trying to reconcile the crisp classicism for which Hammer was best known and the pasted-on naughty bits. It’s impossible not to chortle at the gauche moments of supposedly off-hand but contrived nudity, and dumb metaphors like that in Twins of Evil, when, during a sex scene, Carmilla strokes a phallic candle. Compared with the continental works of directors like Jésus Franco, Jean Rollin, and Harry Kuemel, with which Hammer seemed to be trying to compete, they remained happy to clumsily engender hot collars rather than assault sensibilities, and failed to synthesise the erotic and the oneiric into a satisfying whole.

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The Vampire Lovers took on the Euro trashmeisters by stealing their sexy shenanigans and smothering them with solid British production values. Would-be impresarios of a new, cheeky brand of Hammer horror were producers Harry Fine and Michael Style, who hired seasoned professional Roy Ward Baker (who died just a few weeks before Pitt) to give the film class and seriousness. But straightlaced Baker clashed repeatedly with Style, whose affectations of the hipster roué extended to reading porn mags around the set. That conflict is all too obvious in the damnably awkward film they made, which sticks pretty close to LeFanu’s novel, but lacks all trace of LeFanu’s almost mystically light frost of sensuality and tragedy, except for a memorably atmospheric, if barely relevant, opening sequence in which Baron Hartog (Douglas Wilmer), a self-appointed vampire killer, lies in wait to dispatch a disconcertingly angelic-looking bloodsucker. Pitt’s performance imbues her Carmilla with a tragic edge of corrosive guilt, even as she’s compelled to consume everyone and everything in her path, enjoying the gentle days she spends with her victim-lovers before the inevitable reckoning in plaguelike decimation, and her own flight in the search of new pastures. Carmilla, also variously called Mircalla (her birth name) and Marcilla depending on what guise she’s adopting, moves from family to family in the hazily Germanic province of Styria with the aid of acolyte Countess Herritzen (Dawn Addams). She first victimises Laura (Pippa Steele), daughter of the stern Junker General Spielsdorf (Peter Cushing), and then, by similar contrivance, moves into the house of British expatriate Morton (George Cole) and commences bewitching his daughter Emma (Madeleine Smith).

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LeFanu’s book is something of a landmark in Western literature for detailing a lesbian romance, if in veiled and disturbing terms. In their way, for all their lack of dexterity in treating the theme, the Hammer Karnstein films also deserve that bit of recognition for bringing a distinctly anguished, but admirably unveiled and declarative alternate sexuality (as well as the more familiar kind) onto mainstream English-language cinema screens. Pitt, indeed, always celebrated this aspect of the films in the face of some condemnation. The notion that Pitt becomes the practical auteur of The Vampire Lovers is hard to resist, as she depicts an exhausting, self-crucifying sexual prerogative over and above the crudities of the film. But whilst Pitt throws herself into it without hesitation, her romancing the wishy-washy Smith falls a distant second to the scene in which Pitt seduces the household governess (Kate O’Mara) with lividly lustful looks, and Pitt handles the moments when Carmilla reveals her monstrous side with equal effect. She incurs the viciously repressive wrath of the Victorian patriarchs when they catch wind of what’s going on, with Spielsdorf hacking off her head when he, Morton, and Hartog finally track her down to her family crypt. Whilst essayed with a relative elegance and formal beauty, The Vampire Lovers is badly hampered by a flat, diffuse screenplay, as well as tonal uncertainty. Ward’s stately direction doesn’t draw out the air of forbidden sexuality and generate necessary hysteria—indeed, his good taste gets in the way.

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All three films were written by one Tudor Gates, which makes their wild swings in unity and quality all the harder to account for, although the clashes of the many cooks behind the cameras does explain a lot. Lust For A Vampire commences with Countess Herritzen (now played by Barbara Jefford) and a heretofore unseen Count Karnstein (Mike Raven, doing his best Christopher Lee impression), who may be the black-clad horseman who followed Carmilla about in the previous film, resurrecting their progeny with the blood of a Styrian milkmaid, justifying why Carmilla is now incarnated by Stensgaard’s younger, blonder, sportier model. Herritzen then plants her in a perfect new feeding ground—a finishing school for British girls run by the uptight Miss Simpson (Helen Christie) and her weedy partner Giles Barton (Ralph Bates). Carmilla quickly seduces and then murders a serving girl from a local tavern and fellow student Susan (Pippa Steele again). Rakish author Richard Lestrange (Michael Johnson), on a continental tour, visits the castle, where he’s freaked out by a number of the schoolgirls he mistakes for the revived Karnsteins. Seeing a henhouse, Lestrange appoints himself fox, getting a job at the school and developing a desperate passion for Carmilla, a passion shared by Barton, who, uncovering her true identity, prostrates himself before in begging to be her slave. In an exceptionally good sequence, Carmilla teasingly bites Barton, giving this repressed rodent a tiny moment of sensual delight before abandoning him to bleed pitifully to death.

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Lust For A Vampire’s shoot was as contentious as the first film’s, with Sangster, formerly Hammer’s scripting whiz, pressed into directing after Terence Fisher dropped out, and likewise conflicting with Style. As a director, Sangster brought a cool tone, a good touch with the actors, and a more cunning sense of Carmilla as pansexual predator to the film’s first half. He pitches her as a kind of female, antiheroic James Bond who steadily sleeps with and kills many of the people around her. This aspect builds to a scene in which Lestrange, having become her lover, bangs furiously on the door to her room where she’s cheerfully draining the blood of a fellow student she’s bedded, her female lover’s ecstatic agony all too obvious. Stensgaard lacks Pitt’s pathos, but retains a kind of cold dignity in the part that’s right for this conception. Unfortunately, the attempt to give Carmilla another tragic dimension, in her yearning a normal sex life with Lestrange, but forced to maintain her predatory habits by the remote control of the other Karnsteins, comes to no effect as the second half slides rapidly downhill and becomes a total mess through sloppy story development and clumsier action, and time out for a godawful song, “Strange Love,” over a montage of sexy bits.

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Lust For A Vampire leaves the fate of Count Karnstein and Countess Herritzen ambiguous, an ambiguity not dealt with at all in the third film, Twins of Evil, which seems to be nominally a prequel, but is perhaps better regarded as a fantasia on the traditional Hammer horror themes. The title suggests a double entendre, considering all the low-cut bodices on display. Cobbled together to take advantage of the fame of Mary and Madeleine Collinson, twin sisters who had been Playmates of the Month, the script does everything obvious with such a gimmick—and it’s all the better for it. Twins of Evil appears to be set in a more distant past in which a coterie of Puritan thugs led by Gustav Weil (Cushing again) freely snatch and burn at the stake any women they suspect of being devilish agents, which, of course, are the youngest and prettiest. The Karnsteins are here represented by a living scion (Damien Thomas) who’s dedicated himself to worshipping Satan and evil. His efforts are rewarded when, having killed a peasant girl in a black mass, he revives Mircalla (now on to her third incarnation, Katya Wyeth). She vampirises him before departing back to the nether regions. Meanwhile, Weil finds himself and his wife (Kathleen Byron) saddled with the twin daughters of Weil’s dead brother. Maria (Mary C.) and Frieda (Madeleine C.) are two fashionable young ladies whose Venetian upbringing has rendered them poor fits for their uncle’s severe regime and provincial boredom. Frieda, the flirtier, dirtier twin, ventures out into the night in search of excitement and finds it in the arms and fangs of the newly crepuscular Count.

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Cushing’s capacity to project cast-iron morality is pushed to an extreme, his Weil presented as mere equal and opposite in grossly violent repression to the Count’s insatiable, parasitic sensuality. Each of them grinds soul and flesh apart, perversion the offspring of suppression, with the good and bad twins trapped between, embodying the basic Manichean split in total polarisation. Local teacher and choirmaster Anton Hoffer (David Warbeck) is the voice of rationalism, resisting Weil’s cabal of Puritans. When his sister, fellow teacher Ingrid (Isobel Black), leaves the village to avoid Weil’s threats, she turns up later killed by the Count, and exhibited with punitive relish by Weil. Of course, there’s the climactic moment in which one twin is swapped for the other, and Weil nearly burns Maria at the stake, only to be averted when Anton is attacked by Frieda, pretending to be her sister.

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Anton leads the Puritans in war against the Count: having repeatedly dressed down the Puritans for their conveniently misogynistic marauding, he implores them with the pointed line, “Seek out the evil you fear where it really is, in the castle on the hill!” Director Hough’s grip on the film, unlike Baker and Sangster, only strengthens as it goes on, full of well-orchestrated action and atmosphere, and the climactic scenes are some of the best Hammer ever offered, particularly Weil’s brutal decapitation of Frieda. Twins of Evil is nowhere near a perfect film, filled, like its predecessors, with odd, unexplained story leaps (for example, who exactly was attacking the villagers before Mircalla’s visitation) and stricken with a jerky, opportunistic rhythm. But it’s by far the best of the trilogy, and one of the finest later Hammer films. The sexy stuff here is, as mentioned earlier, often silly: lesbian action is restrained to Frieda biting one of the Count’s imprisoned courtesans on the breast, and there’s a later, risible moment in which Anton pinions Frieda by dropping a crucifix on her conveniently displayed body.

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But Hough’s decrepit castle interiors and foggy forests give the film a lushness that’s more incipiently erotic. Especially good is Mircalla’s resurrection, a ghostly, shrouded figure that seems morbidly malevolent rising from the grave and confronting the terrified Count, but then reaching out with a finely feminine hand to stroke his face. The Collinsons were a bit bovine, and both were dubbed, but otherwise the acting’s largely good, particularly from Cushing and Byron, whose terrified hausfrau works up the guts to give her husband a tongue-lashing when he goes too far. Dennis Price is in here, too, looking distressingly ill in one of his last roles. Oddly enough, the only actor to appear in all three films is Harvey Hall, who played, respectively, a conscientious, but weak-fleshed butler; an inquisitive, but doomed police inspector; and one of Weil’s religious thugs. In any event, even if the Karnstein trilogy as a whole fails to cohere, the films are still dashing good fun.

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1960s, Horror/Eerie, Spanish cinema

Venus in Furs (1969)

aka Paroxismus ; Black Angel

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Director: Jésus Franco

By Roderick Heath

Venus in Furs is one of Jésus Franco’s personal favourites from amongst his colossal roster of wild and woolly films. In spite of its widely known English title, it only shares that title and the name of the anti-heroine Wanda with Leopold von Sacher-Masoch’s infamous founding tome of masochistic literature, Venus in Furs. In fact, Franco’s film was inspired by a conversation Franco had with jazz trumpeter Chet Baker about counterculture mores, and was, in its early drafts, an interracial romantic drama. That aspect is still present in the narrative, and yet unenthusiasm by the producers caused Franco to rewrite the story along the lines of the theme he returned to obsessively in this phase of his career: the sepulchral femme fatale consuming her tormentors and lovers.

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Venus in Furs was one of Franco’s close-to-mainstream works, sporting a fairly high-profile cast that included James Darren, Klaus Kinski, Franco regular Dennis Price, and singer-actress Barbara McNair. But it can’t be mistaken for anything other than a work by the era’s most wayward trash auteur. Structurally, Venus in Furs resembles many horror films exemplified by Dead of Night (1945), in its cyclical storytelling and bookending gimmick of an irrational, closed circuit-like entrapment in the zone between life and death. Whilst relatively restrained in terms of the sexuality that infests Franco’s later works like Vampyros Lesbos, there’s still plenty of sex and sadism here, albeit contoured more into the film’s oneiric, lapping, inherently fetishistic textures. Venus also contends with some familiar problems of low-budget European cinema of this era, particularly in the dubiously employed location footage of Rio de Janeiro and Carnivale, with Darren’s drippy voiceover droning on to give the dancing girls relevance, with such lines as, “Man it was a wild scene. If they wanted to go that route, it was their bag.”

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Darren plays Jimmy Logan, a jazz musician who awakens from what is apparently a long drug binge in a seaside bungalow in Istanbul. He flees to the beach and digs in the sand, pulling out his buried trumpet case and blowing a few rusty licks before he spots a body rolling in the surf and pulls it onto the shore. He’s stunned to recognise the corpse as that of Wanda Reed (Maria Rohm). Addled by drug flashbacks and unable to properly discern hallucination from memory, Jimmy still seems to recall Wanda from some of the parties he played at, including one thrown by a kinky, wealthy art dealer Ahmed Kortobawi (Kinski), and his sensualist friends Olga (Margaret Lee) and Percival Kapp (Price). Jimmy had a crush on the beautiful, flighty Wanda, but one night, he happened to glimpse a terrible scene in which Wanda was cornered and brutalised by the sadistic trio, with Olga and Percival whipping and raping her and Ahmad cutting her with a dagger to drink her blood. Months later, Jimmy, now in the employ of Hermann (Paul Muller), a rich man who keeps him and a band on permanent party hire, is in Rio, back on an even keel and playing well. He’s soon startled not only to find Percival and Olga in town, but also to see Wanda walk into a gig of his one night.

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Jimmy’s subsequent delirium-soaked trysts with Wanda are barely kept in check by his soul singer girlfriend Rita (McNair), as he ponders the metaphysics of the situation: “How can you run from a dead person unless you’re dead yourself?” Wanda keeps reappearing clad in furs and lingerie, drawing Jimmy into bed with her, commencing a completely corporeal affair, and yet the hysterical jazzman keeps fleeing her afterwards, utterly bemused as to what’s going on. Wanda’s casual presence at Hermann’s parties seems to reassure him that she’s very much alive and that he must have been mistaken about the body he found on the beach.

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One night, Wanda appears to Percival and seems to taunt him with her ghostly, erotic presence, filling his mirrors and finally appearing in her mangled, post-mortem state, causing Percival to expire from a heart attack. Later, at one of Hermann’s parties, Jimmy is startled by both Olga’s and Wanda’s presence and positively alarmed when they start making out. But when Wanda later turns up at Olga’s photographic studio, she again transforms in her brutalised corpse, driving Olga to cut her own wrists in guilty sorrow. When Rita walks out on Jimmy, he and Wanda flee back to Istanbul, where Wanda soon enough appears to Ahmad.

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Superfluous dialogue and clumsily inserted travelogue footage aside, Franco’s filmmaking here, when his luxurious visuals have a chance to play out, is boisterous and continually dazzling, replete with disorienting edits, slow motion, reflected images, ultra close-ups, and distorting effects, to conjure a fervent, dreamlike tone. In the bookend sequences that see Jimmy running along the beach to retrieve floating bodies, Franco utilises slow motion to offer a numbing study of the dreamland sensation of travelling without moving, as he closes the narrative’s looping structure. Franco’s intriguing fondness for dispelling standard gothic tropes, in favour of bright sunlight and lush colourings, is in full flower. His work benefits from a seemingly higher budget than he often gained, sporting fine photography and careful lighting that results in a truly sensual visual experience, a sprawl of bold reds and blues, hallucinatory daylight shots and inky darks.

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Like few films I’ve ever seen, Venus in Furs captures the heady atmosphere of two underground artistic strains—fragments of S&M comics interwoven with a feeling of hipster alienation captured in effective visual terms (as opposed to the cornball hip-isms Jimmy speaks), reminiscent in places of other fly-on-the-wall period documents like Conrad Rooks’ Chappaqua (1966). That Darren’s Jimmy Logan is based on Baker is patently obvious, and the film seems to well directly from within Logan’s addled perceptions. Particularly the early scenes, as Jimmy claws at a window or digs into the beach to retrieve his instrument and conjure the drowned Wanda from the waves, possess a flavour that communicates a genuinely strung-out mind. Franco himself was a jazz musician, and his impressionistic scenes from the milieu of Jimmy’s playing are evocative (Franco even appears briefly as one of Logan’s pianists), whilst the totality of the film has an intricately musical structure.

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The mostly jazz-inflected score, by Mike Hugg and Manfred Mann, is as striking as that for Vampyros Lesbos, and is more integral to the film, as musical motifs blend with and define the on-screen drama. Jimmy’s intimate, somehow solipsistic performance style—he’s often hunched over, lost deep in his solos—evoke his drifting out of touch with reality. Sequences of him and his band’s performing punctuate the story’s deaths, with the ghostly Wanda continuously returning to confront Jimmy on stage after her vengeful visitations, signing him to a kind of artistic contract to witness, evoking a shaman or bard, or the legend of Orpheus and Eurydice, as he plays out Wanda’s death chant. Wanda’s killings are punctuated by a memorable soul theme that recurs like a dark mantra, with the promise that “Venus in furs will be smiling”, before McNair sings the full song as a triumphant hymn in the conclusion.

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Although the resulting film isn’t fixated upon portraying a tragic, boundary-pushing new-age romance, as was his original notion, Franco’s initial idea is still present and important, realised in the failing romance of Jimmy and Rita, with Rita attempting to sit out Jimmy’s obsession with Wanda like very much the “black angel” of another alternate title, and yet finally driven off by his obsession. The intimacy between Jimmy and Rita is warmly, tenderly convincing, and stands in contrast with the rather less healthy intimacy Wanda engages in. Delicately yet feverishly erotic, Wanda’s killings are fascinating because rather than visiting her tormentors with violent wrath, she approaches them like a lover, giving them exactly what they want before reflecting the truth of their twisted psyches (Franco’s love of mirrors gets a workout), particularly in her tryst with Olga, which plays out as a tragic romance. Ahmad greets Wanda like he’s been waiting for her, and gets her to enact a part he thinks she has been conjured to play for him, the slave girl who turns the tables on her sultan, which leads to him dying in a perfect masochistic paroxysm, dangling from the ceiling. Rohm’s frigid beauty intrinsically suits the character’s passive malevolence.

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Fascinating images abound, like a nearly naked Wanda descending a staircase painted in vivid white and stepping onto a floor carpeted in saturated red, leaving behind Olga in her white coffin of a bathtub, her lifeblood slowly staining the water, expiating her sins whilst begging Wanda’s forgiveness. This scene’s mix of conveyed physical pain, powerfully transgressive emotion, and expressionist use of décor clearly predict some of David Lynch’s pet effects, and bolsters for me the impression I had in other Franco viewings of his influence on Kubrick’s Eyes Wide Shut (1999). This sequence’s visual motifs are predicted by a most bizarre and gorgeous moment: Olga first encounters Wanda at one of Hermann’s parties sprawled on a red couch, caressing a female statuette’s thigh, and encouraging Wanda to kiss her. Several party guests gather to watch, and one bends down to paint their cheeks, and another showers them with white pillow feathers as if sprinkling confetti on the newly-weds or spreading petals on his priestesses. The Olga-Wanda sequences in the centre of the film are almost a short film in themselves, a classic of sapphic-surrealist erotica.

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Finally, when the police track Wanda to the hotel she’s sharing with Jimmy, the lovers flee, leading to a memorably off-kilter car chase. Wanda soon slips away and enters a cemetery, leaving her fur coat lying upon her own gravestone. Jimmy returns to the beach in the same frazzled state and discover another body in the surf: his own. Wanda and he were both ghostly remnants. By this point, the narrative form completely shatters, saturated colour effects infect the frame, and fragmented shots of Olga, Ahmad, and Percival locked in a red room (another Lynchian image) with Wanda’s savaged corpse, perhaps invoking their damnation. Franco zooms away from Jimmy’s discovery of his own body and quotes the same John Donne passage as an epigraph as was used in the Val Lewton-produced The Seventh Victim (1943), leaving us to ponder a weird and ragged gem of subterranean cinema.

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