There is also very little plot and the neophyte actresses have to carry the film with their looks and their style. Anulka exudes a fairy tale princess type innocence while Marianne Morris is the older dominant vamp despite the two women being the same age. Without the strength of their performances the film does not work.
The women here, and in other Larraz films, are not merely accessories for the male leads but they drive the narrative and look fabulous while doing so. Kat Ellinger flies solo on the audio commentary. Ellinger puts Vampyres into context with similar films of the era including Daughters of Darkness, Fascination , and The Velvet Vampire.
She discusses the transgressive nature of the female vampires who enjoy being vampires who take pleasure in killing, in feeding on blood, in sex. These women are the living dead with agency. They are beholden to no masters in their living lives or their undead continuance.
Men are quite secondary in the narrative. Arrow Video has not only scrubbed up the film so it looks better than it ever has, it also shows more than any previously released version.
The R rated version we have all been accustomed to has been augmented by an additional six minutes of blood and breasts which, although gratuitous, is pretty much the point of Vampyres and who would ever complain about seeing more of Marianne Morris and Anulka Dziubinska? The indelible image of a nude woman concealing herself in an obviously sexual pose inside a statue of a horse while a nude man on horseback rides around her is not something easy to ignore or shake off. Judging from the disparate quality of the various cuts of the film waiting was very likely for the best.
The film which could have been the kind of forgettable standard sexual awakening melodrama that filled out the late hours of the night on Showtime and The Movie Channel in the s is given a surrealist bent that easily raises the film to cult status. Speaking of full display the two lead actessess are frequently on full display throughout the film, and just to keep things fair so is the lead male, and he spends much of his screen time naked on horseback. The plot revolves around a Lorna, a female artist living in rural Spain who takes in an Triana, an illiterate young woman as an assistant.
Triana is troubled by erotic nightmares of being pursued by a naked man on horseback, dreams that begin to intrude on real life. The dreams are also interpreted as a prophecy that if Triana ha sex with the man in her dreams that violence will result. Lorna and Triana quickly begin a mutual seduction that starts with Triana as the innocent who soon flips the power dynamic on her older and seemingly more experienced lover and employer. The film is genuinely sexy, surreal, disturbing, and startling transgressive.
The sex is quite realistic for a movie, aided no doubt in the fact the film in Italy contained hardcore scenes. The audio commentary discusses the various cuts of the film. How the film changes once Chico shows up and Larraz begins to explore the class distinctions amongst the three main characters. They also touch on how Triana could be viewed in almost vampiric terms.
The discussion also centers on the lead women in this film, and other Larraz films, who have more agency than is typically thought of in sexploitation features of the era. They feel the awkwardness of the two lead actresses, who have barely a half dozen screen credits between them help fuel the surrealism.
The restorations on Arrow Video releases are uniformly excellent so it is shocking to see how rough parts of The Coming of Sin look. The elements they had to work with had to be ghastly as most of the transfer is lovely. Some of the scenes are probably culled from some of those same VHS bootlegs that kept the film from being completely forgotten and lost to time. With The Coming of Sin , the English track is not only poorly acted, but actually alters the tone of the film, so please stay with the Spanish track. Your email address will not be published. The poverty-stricken Bennett clan struggles to marry off their daughters in hopes of getting a retirement income.
A thoughtful look into the life and music of one of the most famous saxophone players in popular music. Still think the computer revolution is a bloodless one? Just leave it to the well-read like Ian Koss to save your homo sapien hide when the washing machines attack.
Review by James Mann. Intimate early behind the scenes photos of The Misfits, Samhain and Danzig from a man who was with these bands from high school. Photos by June Rich. Whirlpool This one is a bit troubling.
Leave a Comment Your email address will not be published. Review by Carl F. Who Saw Her Die? Screen Reviews September 25, A creepy but masterful giallo gets reborn in Blu-ray. Vampire Iliana and her sisters travel to the United Kingdom. The news that the 'Ice Prince' had been discovered ceases their many years of blood abstinence and they unleash a bloodthirsty terror on humankind leaving a trail of death from London to the Welsh countryside.
When Max is hospitalised, Lucia sets about to prevent the rise of the vampires. She is aided indirectly by a detective, Adrian Michaels and a dying vampire named Ivan. Reviews have been mainly positive in both US and UK, with reviewers noting the return to the traditional gothic portrayal of vampires, and enjoying the jumps between the modern and the past.
Blood Hunger was loosely adapted for screen by Sean P. It also features the character of Marquise played by Stacey Jackson who is loosely based on the Blood Hunger character Monica.
The film was premiered in the UK, 3 October . It was released as a V. From Wikipedia, the free encyclopedia. This article is an orphan , as no other articles link to it. Please introduce links to this page from related articles ; try the Find link tool for suggestions.