Q: The Queen of Black Magic (1983)


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Well, well, Indonesian horror, here we are again.

Back on the other end of the alphabet we visited Dangerous Seductress, a 1995 effort to break into the lucrative Western horror market. We’re going back a decade and more for a more homegrown horror, starring Indonesia’s answer to Barbara Steele, the lovely Suzzanna, who was a genuine star in her country from the early 70s up through the 90s.

The movie starts with a wedding, the village head man’s daughter marrying a man named Mohar, with much ceremony. Judging by the muttering in the crowd, Mohar is not a very well-regarded fellow. Somebody else agrees with that opinion, because there are signs of black magic afoot: maggots in the wedding feast, and the bride starts hallucinating monsters.



A “witch doctor” (hey, blame the dub, not me) is called in, and whoever the villain is bounces the guy up and down like a superball. He lives long enough to reveal “The demon comes from the West!” and Mohar, being a scumbag, deduces that it must be Murni (Suzzanna), the girl he seduced and then left for his current sugar momma.

Mohar whips the village into a mob (even when the head man appeals to their reason) and they descend upon the innocent Murni, burn her house, and throw her into a ravine, which is apparently how you deal with witches in Indonesia. Fortunately for her, she is caught by an old man, who nurses her back to health, then tells her that she needs to learn black magic to get her revenge on the villagers.

Now reasonable people would be asking who this old man might be, who conveniently knows so much about black magic, but as we will see, we are dealing with A Village Full of Idiots (my suggested alternate title), so Suzzanna agrees, and begins her training, which involves nude trampoline jumping, for some reason (I shouldn’t complain, it’s a truly lovely shot)

vlcsnap-2014-09-09-19h42m00s23Soon, Murni is appearing to her would-be assassins, and assassining them right back in a number of interesting ways, including flesh-eating bees and animated scarves that double as nooses. During these days, a city feller wanders through the town, and stops at the village mosque to pray, only to find it abandoned and falling apart. In fact, whenever he mentions prayer, a part of the building tries to fall on him, because our old pal, the Suspicious Old Man, is muttering over his paraphernalia. The holy man defiantly sets up his prayer mat in the mosque and prays despite the falling debris, resulting in the Old Man getting punched by a holy mule miles away.

vlcsnap-2014-09-09-19h43m46s65The new Holy Guy observes what has become a normal night for the village: Mohar and his minions marching out into the night to find Murni (like I said, Village Full of Idiots), and opines that really, all the village needs to do is start praying again. Well, the mob of idiots does find Murni, and she disperses them easily with a big offscreen fan, and lays a curse on Mohar, who, in the best scene in the movie, literally pulls his own head off.

It turns out that I had been waiting all my life to see that in a movie.

vlcsnap-2014-09-09-19h44m55s254After Mohar’s head goes all penanggalan on us, flying around and biting people, the Holy Man crops up to stop it. and everybody agrees it would be a good idea to rebuild the mosque and start praying again. Murni is reluctant to continue killing, now that she’s had her revenge on Mohar, much to the Old Man’s disgust. It gets worse when there’s a meet cute between the Holy Man and Murni, and she decides to move to the big city and marry him. Which the Old Man just can’t have.

Queen of Black Magic isn’t going to win any points for originality, but it has some impressively weird and gory death scenes, and I have to say, after years and years of Western horror movies where the villains sneer at ineffectual religion, it’s quite novel to see a movie where simple prayer actually packs a (literal) punch. Entertaining and worth the watch, If you can get past constantly groaning, “You idiots!

vlcsnap-2014-09-09-19h45m37s124I’m feeling nice tonight. Here, have a Best Of:

The Queen of Black Magic on Amazon

P: The People Who Own the Dark (1976/80)


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Incidentally, Sean S. Cunningham claims he knows nothing about this movie,

Incidentally, Sean S. Cunningham claims he knows nothing about this movie,

Whenever I bring up the subject of The People Who Own the Dark (which is an uncommon occurrence, I grant you), I am generally greeted by blank looks. Admittedly, this shouldn’t surprise me, though I am narcissistic enough to believe that my movie experience is everyone else’s. But my knowledge of this movie is due only to a couple of 15 second movie spots on local TV, and a later admonition to “not bother.” The lack of it in any home entertainment format seemed to bear that out, but as we know, often to my detriment, I have to find out for myself.

Code Red DVD is one of those boutique labels that champions some of the most obscure titles, and God bless them for it. They’ve allowed me to see some absolute garbage, but they’ve also allowed me to see some real gems. And their disc of People Who Own the Dark (with typical dark humor, proclaimed on the box to be a “Brand new telecine from an abused, scratched and beat-up 35mm print that went vinegar!”) manages to edge it’s way into the latter category. (The transfer, incidentally, is all those things, but it is also frequently gorgeous; the disc also has a full-frame 1-inch video transfer, if you need to know what’s missing from that 35mm print)

In an indeterminate area of Europe (oh, okay, it’s Spain) a group of high level statesmen, businessmen and rich doctors gather at a remote villa for what proves to be a weekend of debauchery with some lovely women who are, ahem, in it for the money. There is an opening ceremony name-checking the Marquis de Sade, held in an underground wine cellar, and just when we think we’re going to be treated to a low-budget Salo (hopefully lighter on the coprophagy), there is an earthquake that interrupts the salaciousness.

people-dark-32Returning to the mansion upstairs, our group finds out that every living thing above ground is now totally blind. The guy who is going to turn out to be our protagonist, Fulton (Alberto de Mendoza) figures out that there has been a nuclear war, and they have just days before the radiation comes. This is bad science at its baddest, but let’s just roll with it.

The men head into town to steal get supplies for their wine cellar/fall out shelter and the boytoy host of the debaucheries (Tomas Pico) first stabs the blind shopkeeper they’re ripping off, then freaks out and shoots some of the now-blind villagers before he is himself killed by one of the outraged doctors. The others return to the villa, and prepare to hunker down until the fallout passes. Their efforts are interrupted by a mob of vengeful blind people.

tumblr_ltsiu1js241qaun7do1_500What this is, obviously, is another version of Night of the Living Dead, except with blind people instead of zombies. The advantage to that is we are able to skip right over the “they’re learning to use tools!” phase right into cars being used as battering rams to get into the villa. The major disadvantage is the rather problematic conversion of blind people into bloodthirsty monsters.

But as a zombie siege picture, it works; all the necessary notes are hit, and hit well. Though what can be considered another flaw is the adherence to the Night of the Living Dead model, right up to the downbeat ending.

the-people-who-own-the-dark-1975The double year credit in the title of this post is due to the fact that (Surprise! Surprise!) this is actually a Spanish movie, Ultimo deseo. That would likely come as no surprise if I had told you the designated asshole (who is so mean that when he shoots skeet, he uses real pigeons) is Paul Naschy, and the mistress of the villa is the lovely Maria Perschy. Also, the director is Leon Klimovsky, who you’ll recognize from a ton of Naschy werewolf movies.

The original cut is 12 minutes longer than the English version; I suspect I’ll never know what’s in those 12 minutes, and given what I’ve seen, it probably doesn’t much matter. There are some character stories that aren’t fully exploited in this version, but there’s not a whole lot here to make me want to seek those moments out. It’s not a terrible movie by any means, but neither is it a great movie. It’s entertaining enough during its runtime, but alas! Does not cry out for a second viewing.

The People Who Own the Dark on Amazon

O: Orgy of the Dead (1965)


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Orgy_of_dead_poster_01In any of these movie marathons, too much of a good thing can get poisonous. Eventually you just have to watch something you know is terrible, just so you can have a larf and reflect how good you have it at other times.

No one had let Ed Wood Jr. near a director’s chair since The Sinister Urge in 1960. I still haven’t seen that, I now realize, but I have seen Night of the Ghouls, which languished at the lab for years because Eddie couldn’t afford the fees, and the sad truth is, the man had learned enough by that time that Night has few of the lunatic  newbie mistakes that riddle his earlier pics, so much so that Wood had, at that time, progressed from manic risibility to mere mediocrity. Surely there is a German word that describes the sadness that causes me.

Night of the Ghouls does have some of the flavorful Ed Wood dialogue, though, and since Orgy of the Dead is an Ed Wood script from an Ed Wood novel, it proudly possesses some, as well.  Producer Stephen Apostolof, making his directorial debut, was a little too smart to let Eddie near the big chair, but he did employ him as a production assistant. Too bad those smarts didn’t extend to the casting, because there are few things worse than bad actors trying to do Ed Wood dialogue. Then, God bless ‘em, that is why I am here.

PDVD_354Orgy of the Dead is a nudie-cutie, a subgenre more or less created by Russ Meyer. Most of them are simply loose frameworks to connect burlesque striptease numbers (see also Kiss Me Quick, one of the more watchable examples of the breed, if only for its oddness). This means I am going to have problems finding photos to illustrate this review that do not violate WordPress community standards. (I can still talk about body parts, because nobody reads anymore)

Your norms (and chief bad actors) here are Bob and Shirley (William Bates and Pat Barrington). Bob is a successful horror writer who is looking for an old abandoned graveyard at midnight for inspiration, and dragged his girlfriend along just because. One car wreck later (the squealing brake sounds start a couple of cuts before the actual incident) they regain consciousness and find themselves unwilling spectators to the court of the Emperor of the Night (Criswell), who is judging the dead, or at least the dead who are female and have a propensity for losing their clothing. While dancing.

1032759261_919ff689a4 copyThere are roughly ten dances on the card tonight, with the slightest of story elements to justify them. The sudden lack of clothing never is explained, but I guess we can credit Apostolof for using the near endless cutaways to Criswell and his attendant (Fawn Silver, as either the Black Ghoul, Princess of the Night, or Ghoulita, depending on whether you believe the IMDb, the script, or the video box) to excise the strip part of the striptease, and just go to the near-nudity.

There is an Indian dance, then a quote-unquote “Skeleton Dance”, during which our, ahem, heroes, from their hiding place, say things like “I can’t imagine anything dead is playing that music” and “Nothing alive looks like that,” because Bob is an idiot.

After a Goldfinger-inspired dance where a woman who “loved gold above all else” gets dipped in gold (her picture is under the credits and much of the publicity material), Bob and Shirley get captured by the Emperor’s goons, a not half-bad werewolf and a really terrible mummy. (And yes, the boredom has set in to such a point that I did not realize that Shirley was also the dancer for the Gold Girl number).

OrgyoftheDeadTied to two conveniently-placed obelisks (while Shirley yells, “Fiends! Fiends!”), Bob and Shirley are forced to watch the rest of the evening’s festivities, and I know how they feel.

First Ghoulita informs us “To love the cat is to be the cat.” Now, I have loved and lived with several cat lovers, and the uniform never included assless leopard-print pajamas with a boob window. I feel so deprived. And we are going to ignore Criswell’s “A pussycat is born to be whipped.”

bob and shirleyI shudder to inform you that we are now only four dances into our set. There is a “slave dance” (featuring my favorite Criswell line, “Torture! Torture! It pleasures me!”) which is followed by Bob telling Shirley, who is just standing there, “Panic won’t do us any good!” Then we have a Mexican dance, then a Hawaiian dance (which honestly seems to last an hour), then a comedy sketch with the mummy and wolfman which is every bit as painful as you think it is, and then there is a bride “who murdered her groom on her wedding day, and now she dances with his skeleton.” (“We rented this skeleton prop for the day, and dammit, we’re going to use it!”) Or at least she does until the go-go music starts, and then she starts gyrating her upper torso so her breasts flail about in all directions. This was the same act as the blonde Sex Bomb in Kiss Me Quick, and just looks uncomfortable, if not downright painful. Still, I suppose this is a fetish for someone out there…

Scream, Gingerla, Scream!

Scream, Gingerla, Scream!

Shirley gets to show us she has the worst movie scream ever, and we still have to get through the zombie dance and the streetwalker dance and…

No, I’m not going to tell you how it ends. Suffer as I did.

Orgy is competently shot, if not acted. Some of the ladies have pretty good dance moves, some do not. They’re all attractive, but seem to fall within the same body type. Your main enemy while watching Orgy of the Dead is going to be boredom, pure and simple, unless you are vitally interested in burlesque and third-rate Martin Denny imitations. This has to be the fifth or sixth time I have watched it, and unfortunately, Orgy of the Dead does not improve with age – but my facility with the fast forward button certainly did.

Oh, the hell with community standards, have a NSFW trailer:

Orgy of the Dead on Amazon

N: Nosferatu the Vampyre (1979)


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Nosferatu_Phantom_der_NachtI have watched a lot of horror movies in my life, and I really have no idea how many times I’ve seen the story of Dracula play out. In the course of my time on this Earth, I have seen the Count go from Evil Incarnate to Tragic Romantic Hero (a metamorphosis of which I do not approve).  I suppose the ultimate capper was when I finally got to play my dream role, Van Helsing, in a theatrical version that was pretty close to the novel, meaning I actually lived the story for a few months.  Good as the story is – and there are portions of Bram Stoker’s novel that deserve their high place in the annals of horror fiction – man I am tired of this story.

So, I have managed successfully to avoid Dario Argento’s Dracula, although I admit I have never seen the Count turn into a giant praying mantis, but I’m afraid that even that novelty isn’t enough to make me sit through that series of events again. But I am more than willing to make an exception for Werner Herzog’s remake of F.W. Murnau’s Nosferatu.

7723_5The first reason is the storyline of Nosferatu is different enough to seem fresh (not fresh enough for Stoker’s widow Florence, who very nearly succeeded in making Murnau’s version a lost film). Removed from the possibility of litigious widows, Herzog returns the character’s original names, though for some reason possibly only known to himself, he flips the characters of Lucy and Mina. He also combines the characters of Van Helsing and Dr. Seward, but combining characters is par for the course in versions of Dracula.

The other reason, of course is this is Werner freakin’ Herzog. This is the director who made a movie about dragging a steamship over a mountain by dragging a steamship over a mountain. No sets for this man, if Castle Dracula must be a ruined castle atop an inaccessible mountain, he hauls his cast and crew to a ruined castle atop an inaccessible mountain. When the ghost ship Demeter drifts to port, bringing the vampire and his numerous coffins, that is a real damn ship scraping the walls of the canals of Drelft in the Netherlands. Herzog makes no bones about his intentions as the opening credits play out over footage of actual mummified corpses in Guanajuato, Mexico.

nosferatu ratsAs Herzog’s version of the story progresses, it gets farther and farther from Murnau’s, as Herzog is not going to be satisfied with Gus Van Sant-ing what he considers to be one of the most important movies in German cinema. The most telling embellishment brings to the fore the metaphor of vampire as disease; a lot of treatises and think pieces have been written about vampires representing syphilis or AIDS, and Herzog runs with it. The arrival of the ghost ship also brings an army of rats, and the Plague with a capital P descends on the town. Again, Herzog doesn’t rely on camera angles and trickery to turn a couple of hundred rats into an army, we are talking thousands of the suckers, white rats bought from a scientific research supply and dyed gray for their moment in the limelight.

nosferatu-1979-061The cast is an amazing lot, too: Bruno Ganz as Jonathan Harker, the lovely Isabelle Adjani – looking as if she has just stepped off the silent screen – as Lucy, and, of course, Klaus Kinski as Dracula. Kinski and Herzog’s fractious, often violent relationship yielded some of the most amazing cinema of the 20th century, and Kinski’s Count is so layered, he is almost impenetrable. He would never be mistaken for a romantic hero, but he is unmistakably tragic, sometimes conflicted, but above all, very, very frightening and otherworldly.

Possibly the most satisfying parts of this movie are the times Herzog, ever the intelligent filmmaker, has the reverence to simply restage shots from the original, and they remain just as powerful in this present day as they did nearly a century ago, reminding us why both films are considered masterpieces.

Nosferatu on Amazon


M: Man Bites Dog (1992)


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manbitesdogposterThere was a moment watching Man Bites Dog that I had an appropriate moment of deja vu (well, appropriate except that the filmmakers are Belgian, not French). When the small indy film crew following prolific serial killer/hit man Benoit (Benoit Poelvoorde) admit that they’re running out of money and must stop filming, and Benoit offers to take over as producer. That nibbled at me for a few minutes until I realized where I had seen it before: the Adi Shankar/Joe Lynch unofficial Venom short, Truth in Journalism. Substitute Eddie Brock for Benoit.

Reviewing news stories about Truth in Journalism reveal that Shankar was very upfront about the Man Bites Dog influence (and that very few of these reporters had ever seen Man Bites Dog). He describes it as a “super-niche” movie, which may be true, but it shouldn’t be, because it is very, very influential.

man-bites-dog-screenshot-2[1]Benoit is an efficient, ruthless killer who has disposing of bodies down to scientific ratios, and exactly which victims are likely to have money socked away, and where. “I  like to start every month with a postman,” he says, as this allows him to target pensioners. The film crew following Benoit is already complicit in his numerous crimes (you will lose track of how many murders are committed in shock-cut montages), but they also start getting more involved, as when director Remy (Remy Belvaux) drags off the body of a dead watchman – Benoit doesn’t want to touch him, because the murdered man was black and he is afraid of getting AIDS.

So, yes, besides being a thief and murderer, he’s also racist and frequently cruel to what friends he does have, but is also capable of being extremely charming and playing the comic. As the cast is using their real first names, the segments with Benoit’s mother and grandparents are all quite real – they thought the boys were making a movie about Benoit, so of course they are unaware of how “little Ben” is making his way in the world.

mbd3This is a comedy, make no mistake, though it is comedy blacker than the inside of a lump of coal at the center of the earth. Possibly the best example of this is the fact that the film crew keeps losing sound men, by which I mean they keep getting killed in the course of filming, with a tearful Remy delivering the exact same eulogy and dedication of the film to each fallen audio guy – right down to the same pregnant girlfriend. Jeez, Remy, think of a new name.

But the darkness at the heart of the movie is still constant, leading up to a night of  drunken carousing, when the crew actually participates in a particularly repulsive gang rape and double homicide, and all pretensions about being impartial observers and recorders go by the wayside.

The actual, real filmmakers had no idea the movie would be as well-received as it was; shot over the course of a year whenever they had the money, using family and friends, this was supposed to be a “calling card”, proof that they could actually make a feature. That in their desperation to find a hook for a movie to be made with nearly no money, they manage to pretty accurately predict reality TV (along with another excellent “super-niche” movie, Series 7), and provide a template for found footage movies yet to come – and eventually wind up in the Criterion Collection – is pretty amazing.

It’s also sadly predictable for this sort of thing that none of the filmmakers, save Benoit, has gone on to much of a career. Like Leonard Kastle and The Honeymoon Killers, lightning struck once, and we’ve all been waiting for it to strike again.

Man Bites Dog on Amazon

L: The Living Skeleton (1968)


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The-living-skeleton-posterNestled firmly in-between its better-known siblings in the Eclipse Collection When Horror Came to ShinchokuThe Living Skeleton at first seems a fairly typical ghost story. It begins with enough blood and thunder: the crew of a freighter shackled together at the ankles, threatened by a gang of machine-gun wielding thugs. The sole woman on board begs for the life of her new husband, the ship’s doctor. They are all gunned down in cold blood.

Switch to three years later. Saeko (Kikko Matsuoka), who we will find is the identical twin of the woman in the first scene, lives at a Catholic church under the care of Father Akashi (Masumi Okada), and is dating a young man, Mochizuki (Yasunori Irakawa). All seems well, until Saeko and Mochizuki go scuba diving and are confronted by a horde of anatomically risible skeletons, all chained together at the legs.

3LS 11Mochizuki jokes later that they were seeing things, but that night a storm rolls in, and on the horizon: a seemingly derelict freighter, blowing its foghorn. Saeko is irresistibly drawn to it, and nearly drowns boating to it. It is the Dragon King, the freighter from the first scene, thought lost at sea. She finds the ship’s log, which tells of suspicious people aboard, and a secret cargo of gold bullion. Then she sees her sister and faints.

Saeko vanishes from the church, much to the Father and Mochizuki’s dismay. Meantime, the members of the gang that slaughtered the crew is either enjoying the fruits of their crime or the dregs of their wasting same; they start seeing that chick they know they killed three years ago, and they start dying one by one.

So it’s pretty obvious that Saeko has been possessed by the spirit of her dead sister – they always seemed to have a psychic bond, she tells the Father – and she’s avenging herself, right?

Not so fast.

duo lsIt looks like The Living Skeleton is going to give us that tooth-grinding device, the rational explanation that explains away all the supernatural happenings, which it does, but the rational explanation is ten times weirder than a vengeful ghost seeking retribution. The last half hour is so berserk, one mind-croggling revelation stacked upon another, that I’m not even going to try to relate it here. It’s so insane it has to be seen, and I’m not handing out any spoilers.

The Living Skeleton pretty much makes sure it stands apart from its brethren at Shochiku Studios by being shot in black and white, increasingly uncommon in 1968, so much so that it is definitely an artistic choice. There are at least two user reviews on the IMDb pointing to this as “the obvious inspiration for The Fog”, to which I have to ask – which version of  The Fog did they see? Or which version of The Living Skeleton? Both have ghost ships and avenging spirits, but this like saying Citizen Kane is the inspiration for Cool Runnings because both feature sleds. Come on.

saekoLiving Skeleton also led me to ponder if bats actually would nest in derelict freighters. I suppose they could, but then it was made obvious that these are ghoooOOOooost bats, so, you know, educational.

I like when movies can surprise the living hell out of me. That doesn’t happen near often enough.

When Horror Came to Shochiku on Amazon

K: Kiss of the Vampire (1963)


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This was a movie I had seen as a child, way back when; I remember it played on NBC in a Prime Time slot, re-titled Kiss of Evil, and I recall being rather confused about the whole thing. Turns out I was seeing a version that had been massively tampered with, and I direct you to this IMDb page for the details. I eventually figured out the true title was Kiss of the Vampire, have now finally watched it again, and was relieved to find out it made a little more sense.

One of the scenes heavily cut for sensitive American viewers is the opening, a funeral in your typical Hammer turn-of-the-century cemetery. One cloaked fellow watches from a distance, and the village gossips whisper that “he’s been drinking again.” This fellow walks to the graveside as the service concludes, takes the shovel and proceeds to smash the shovel down into the coffin. Whatever is in that coffin screams, and impossibly, blood gushes out. The frightened villagers run away, crossing themselves.

Kiss Of The Vampire WelcomeAfter the credits, we are introduced to our – well, not heroes, but our main characters, Gerald and Marianne (Edward de Souza and Jennifer Daniel), who are traipsing about in their motorcar, on their honeymoon. Marianne is a terrible map reader, and they are lost and eventually run out of petrol. This is observed by a telescope in a nearby dilapidated château. They have the car towed to a nearby, nearly deserted hotel, where they find themselves the only other tenant besides the alcoholic Professor Zimmer (Clifford Evans), whom we all recognize as Mr. Shovel Chucker from earlier.

George and Marianne are invited to dinner by the owner of the aforementioned château, Dr. Ravna; they find the interior of the mansion to be quite lovely, and Ravna and his two children very handsome and genial. Of course, given the pre-credit sequence and the title of the movie, we are pretty damned sure they’re vampires, and as the movie progresses, we find they are vampires with a penchant for very elaborate and rococo plots.

kiss12Delivery of the rather exotic petrol will take several days and the Ravnas invite George and Marianne to a lavish masked ball. Make no mistake, the entire purpose of this ball is to get George drunk, and then drug him, while Ravna puts the bite on Marianne. When George awakens, he is told there is no such person as Marianne, and that he is a miserable drunken sot and should leave forever.

Even the innkeepers are telling him he came to the hotel alone, but Professor Zimmer is having none of that, and gives George the index card version of what is going on; Ravna is the head of a cult of vampires – all the other attendees of the ball are members of that cult. The vampire Zimmer skewered with the shovel was his own daughter, and he has been laboring over his ancient texts to find a magic spell that will “turn evil against evil”.

kiss13A whole lot of Kiss of the Vampire seems like a bunch of 60s Hammer films were put in a blender. The same setup would be utilized for Dracula: Prince of Darkness three years later (also written by Anthony Hinds) and Zimmer must cauterize a vampire bite, much like Peter Cushing in Brides of Dracula. The major elements that set this one apart from the others is the treatment of the vampires as a religious cult, right down to the flowing white robes, and that spell woven by Professor Zimmer, which culminates in an attack on the château by a flock of the finest rubber bats available from the local Woolworth’s.

It’s that final attack that impressed me as a kid; it’s unusual enough to make a lasting impression in a childhood spent watching monster movies. Sadly, the movie proper doesn’t live up to the extraordinary scenes bookending it. The actors are a solid lot, but lacking the convincing gravitas of either Cushing or Lee. Once all the subterfuge is put aside, and Zimmer and George go on the offensive, the story becomes much more involving – but by that time, it’s almost over. A diverting enough movie, but definitely not one of the brighter jewels in the Hammer crown.

(The only trailer I could find on YouTube is so dark as to be worthless. Here instead, is a speed-ramped version of the closing sequence set to Chimo Bayo’s 1992 “Bombas”. The Internet. Go figure.)

Kiss of the Vampire on Amazon


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