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Conspirators - (Feb 20th)
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Confessions of a Vampire Vixen! Lust for a Vampire is directed by Jimmy Sangster and written by Tudor Gates who uses characters written by Sheridan Le Fanu. It stars Ralph Bates, Barbara Jefford, Suzanna Leigh, Michael Johnson, Yutte Stensgaard, Helen Christie and Pippa Steel. Music is by Harry Robinson and Technicolor cinematography by David Muir. The second part of Hammer Films' "Karnstein Trilogy", "Lust for a Vampire" seemed destined to be miserable from the get go. Peter Cushing had to leave the production when his darling wife fell gravely ill, Hammer's best director Terence Fisher had to also bail out, while Gates had his original romantically literate script jettisoned for one more concerned with nudey prod games. What eventually plays out on screen is a tepid and confused movie, more concerned with bosom baiting than anything resembling a coherent and dramatic horror story. Pretty much everyone involved with making it disowned it, and it's not hard to see why. From production goofs to the inappropriate cheesy pop song that assaults the ears during a love making scene, the film is badly constructed and just functions to purely show some buxom flesh in the hope that it itself will be enough. A couple of scenes are smart, particularly the resurrection of the main vampire babe, and the colour and costuming is up to Hammer's high standards, yet you can see Hammer straining for inspiration to take the 70s by storm. The cracks in their magnificent armour were just starting to show. The only real surprise is that Robin Askwith isn't in it, he could have used it as a warm up for his "Confessions Of" series of films that were soon to surface... 4/10
**_Gothic drama/romance marked by villages, castles, maidens and vampirism_** In 1830, a writer (Michael Johnson) visits a village in the shadow of the diabolic Karnstein Castle in Austria whereupon he decides to teach at a nearby female school after meeting a lovely new pupil (Yutte Stensgaard). Another student (Pippa Steel) and the headmaster (Ralph Bates) are also enamored by Mircalla. What is the secret of her magnetism? Could she be the reincarnation of Countess Carmilla Karnstein, who died in 1710? Christopher Lee lookalike Mike Raven is on hand as sinister Count Karnstein. “Lust for a Vampire” (1971) takes place forty years after the events of the previous film, “The Vampire Lovers,” released the previous year. These movies were loosely based on Irish novelist Sheridan Le Fanu's "Carmilla," which was published in 1872, predating Bram Stoker's "Dracula" by 25 years. Hammer’s ‘Karnstein trilogy’ is completed by the prequel “Twins of Evil” (1971). Blonde Dane Yutte Stensgaard is noticeably younger than Ingrid Pitt, who played Mircalla in the previous movie (and was offered the role here); Yutte was 24 during shooting while Ingrid was 32. There are, unsurprisingly, several fetching females due to the milieu, not to mention some top nudity (just a heads up). While Ralph Bates called it "one of the worst films ever made," all three in the trilogy are of about the same quality, although “The Vampire Lovers” is the most popular for obvious reasons (the overt sapphism, which is toned down here and in “Twins”). I think Bates didn’t like it because of his sniveling character, Giles Barton, who plays second fiddle to the dashing protagonist (Johnson). Producers insisted on including the pop song “Strange Love,” performed by Tracy, after the success of “Rain Drops Keep Fallin’ on My Head” in “Butch Cassidy and the Sundance Kid” (1969). As far as I’m concerned, it fits the scene of the movie and isn’t jolting like “Rain Drops” in “Butch Cassidy.” In some ways, “Lust for a Vampire” is reminiscent of later movies “The Wicker Man” (1973) and “Picnic at Hanging Rock” (1975) due to the progressive girl’s school, just with the addition of Gothic vampirism. The film runs 1 hour, 35 minutes, and was shot at Elstree Studios outside London to the north. The finishing school is located a little further northwest at Hunton Park. GRADE: B-/B
Famed director Zhu Shilin tries his hand at a horror film! The beginning of The Living Corpse immediately sets the tone with a folk duet clearly inspired by the popular 1956 musical Songs of the Peach Blossom River. The duet, in addition to Zhu's frequent use of long, empty shots and crisp editing, gives this horror film a traditional poetic charm and a strong folk flavor. Mise-en-scene and sound effects create a terrifying atmosphere, and successfully communicate the ghostliness of a world without ghosts.
A young woman suffering from mysterious physical ailments is horrified to discover that she is descended from generations of vampires. When she’s with her boyfriend, she struggles to control her peculiar appetite. But it’s in her blood . . .
The mysterious Count Orlok summons Thomas Hutter to his remote Transylvanian castle in the mountains. The eerie Orlok seeks to buy a house near Hutter and his wife, Ellen. After Orlok reveals his vampire nature, Hutter struggles to escape the castle, knowing that Ellen is in grave danger. Meanwhile Orlok's servant, Knock, prepares for his master to arrive at his new home.
After kidnapping a father and his two kids, the Gecko brothers head south to a seedy Mexican bar to hide out in safety, unaware of its notorious vampire clientele.
In an effort to prove the existence of vampires, a film crew documents the daily routine and late-night stakeouts of a self-proclaimed vampire hunter.
A man who serves in the war between the forces of Light and Dark comes into possession of a device that can restore life to Moscow, which was nearly destroyed by an apocalyptic event.
British estate agent Renfield travels to Transylvania to meet the mysterious Count Dracula, who is interested in leasing a castle in London. After Dracula enslaves Renfield and drives him to insanity, the pair sail to London together and Dracula, a secret vampire, begins preying on London socialites.
Buried deep beneath the earth for a hundred years Jonathan had to sacrifice his own soul and become a vampire in order to find his true love. Meanwhile, a beautiful young woman, Victoria, wakes from recurring dreams of a time when she was in love. It is clear that Victoria is Jonathan's true love and when they finally meet, they realize that their souls are forever intertwined. Victoria finds herself caught between her immortal love and her mortal ties. Jonathan has made the ultimate sacrifice for her - his own mortality. Will she now do the same for him?
Mira inherits a building full of secrets and mysterious new friends. Will she survive long enough to uncover her family's dark past, or will her friends draw her deeper into her new fate?
It was supposed to be one last heist but it shouldn't be a surprise that a burglary in Transylvania County would be interrupted by an ancient vampire's awakening, resulting in a night of terror.