Mummies, Vampires, and Torture, Oh My!
By
Kristin Battestella
Don't get to close for these foreign
and domestic monsters, toothy dames, or rack masters!
Blood from the Mummy’s Tomb –
Based upon Bram Stoker’s The
Jewel of Seven Stars novel,
this 1971 Hammer outing gets right to the saucy, sexy mummies,
colorful jewels, tombs, and classic Egyptian designs not through
spectacle of production but via subdued lighting, firelight, soft
music, foreboding curses, and a silent, dreamy start. The intriguing
father and daughter dynamic between Valerie Leon (The
Spy Who Loved Me) and
Andrew Kier (Quartermass and
the Pit) is both endearing
and suspicious – straight jackets, psychics, ominous
constellations, cluttered museums, and sinister relics likewise
contribute to the visual mixing of old, Egyptology styles and early
seventies designs. Pleasing hysterical fears, snake scares, uneasy
reunions, and power struggles unravel the reincarnation tale nicely.
It is tough, however, to see some of the night sky transitions, and
the simmering 94 minutes may be too quiet or dry for today’s speedy
audiences. Subtitles would help with the exposition as well –
especially for the fun homage character names like Tod Browning that
may be missed otherwise. Brief nudity, one by one deaths, the
collecting of killer artifacts, and a resurrection countdown also
feel somewhat rudimentary at times, predictable before snappy and
missing some Hammer panache in cast or direction. Considering the on
set death of director Seth Holt (Taste
of Fear) and the departure
of Peter Cushing – both briefly discussed in the DVD’s features –
the film’s flaws are certainly understandable. Besides, this is
still most definitely watchable with an enjoyably moody atmosphere
and fun, subjective finish.
Conspiracy of Torture – Oft giallo director Lucio Fulci’s (Zombi 2) 1969 Beatrice Cenci is not actually a horror movie but rather a historical drama chronicling terrible twists, torment, and disturbing, cutthroat family. The similar names, confusing politics, voiceover expositions, and edgy situation aren’t immediately clear and those unfamiliar with Italian names and history may have a tough time with the non-linear work here. Some action scenes are also too up close, hectic, or dark at times, but fortunately the medieval velvets, frilly collars, and chanting prayers have the Inquisition-like feeling and dangerous atmosphere needed for eponymous daughter Adrienne Larussa’s (Days of Our Lives) vengeful violence and subsequent persecution. Yes, the dubbed romantic dialogue and the over the top sentiments are a little hokey, but corrupt, sinister papa Georges Wilson (The Long Absence) balances anything you might find tender. Not to mention the executions, dog attacks, racks, medieval limb crackings, and other fancy devices adding to the ruthlessness. Considering the subject matter, perhaps the script should have upped the unscrupulous and refined its timeline – thanks to the misleading title change, horror audiences expecting something uber nude and scandalous like other exploitive films of the time may also be disappointed at the seriousness. However, there’s enough bloody action to go with the cruelty, anti-church earnest, and nasty suggestions. This style and topic won’t be for everyone, but fans of Old World productions or those studying their 16th century history can view, compare, and delight.
The Nude Vampire – Hooded
rituals in science labs make for some unique disrobings, blood vials,
and colorful beakers to start this 1970 French saucy from writer and
director Jean Rollin (Fascination).
Although I could do without some of the now tame but up close,
lingering nipple shots and overlong gyrating and dancing –
continental seventies staples though they are – the black and white
noir mood is well lit with candles and torchlight alongside striking
red, purple, orange, and pretty people treating the eye. The
interracial nudity is also surprising for the time, and the seemingly
suave, exclusive clubs veil more kinky, sinister, creepy animal
masks, and dangerous gun play. There isn't a lot of gore or blood,
however, a simmering string score, evening streetlights, and
cobblestone streets invoke an Old World mood to anchor the rare blood
disorders, cult rites, and disturbing deaths. Unfortunately, the
production is somewhat small scale and not as lavish as viewers might
expect with minimal locales and poor editing. This picture is quiet,
slow at times, even boring when precious minutes are wasted on
meaningless walking here and there or out there plot exposition that
feels tossed in after the fact. Thankfully, there are some great
stairs, columns, and marble to up the decadent atmosphere, and the
overall sense of bizarre helps the under cooked statements regarding
immortality, blood possibilities, man's stupidity, and the
superstition versus science comeuppance. The story could have been
better, but this is a fun viewing and we're not really meant to
notice the thin plot over all the titular shapely now are we? 
Requiem for a Vampire –
Clown costumes, shootouts, daring car chases, and dangerous roads
lead this 1971 Jean Rollin juicy before two chicks on a motorcycle
roam the countryside leaving dead bodies and torched cars in their
wake. The spoken English track and Anglo subtitles don't match,
however there is hardly any dialogue until the latter half of the
picture when we finally find out what's afoot. Some may dislike this
silent style, but grave diggers and thunder create an intriguing,
off-kilter spooky atmosphere. Scares, screaming ladies – we don't
know the details but we're on their side as rituals and titular
bloodlines escalate. Of course, colorful castles and seemingly
hospitable cults providing purple furs on the bed for some lesbian
touchy feelys add to the bushy babes and bemusing euro shtick.
Granted, the first half hour could be tighter, and the bare bones
plot should have gotten to the naughty sooner rather than all that
running here and there. The sexual statements are iffy as well, even
erroneous, for one wants to be a vampire/lesbian while the other
doesn't want to be and gets a man instead – having sex with a woman
still means you are a virgin and can still claim to a man that you
haven't made real love yet! Some saucy scenes are also more graphic
than others are, with uncomfortable to watch slaves in chains and
more violence against women. I'm not sure about the oral sex bat (um,
yeah) but the good old toothy bites mixing supernatural pain and
pleasure are nicer than the rough stuff. Bright outdoor photography,
pleasant landscapes, sad but eerie abandoned buildings, silhouettes,
and well lit candlelight patina with gruesome green and creepy
crimsons accent the dark graveyards and frightening dungeon traps,
too. Once you get passed some pacing flaws and the uneven smexy, this
is a fine looking and bizarrely entertaining vampire ode.
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