My Two Vampire Lovers
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Within these limits all kinds of beautiful subtext arises for deeper reading; such as a loneliness of immortality, the need to feel connection, the need to feel love; as well as linking back to traditional female Gothic that explored fears of the time, like the importance of the mother figure within the home absent here, therefore making the family weak and the perils of female isolation within the home.
Pitt plays the role with some pathos, breaking the original idea that Carmilla was supposed to appear as a flirty young maiden — the actress was 33 when she took the part — to instead focus on an intensity and passion that comes with the confidence of age. However it is for the sense of exotic eroticism and wild sexually free spirit that she projects, that she will always be remembered in the role. Joined by Pitt and Smith are a host of recognisable faces amongst which is the inimitable Peter Cushing — who has no more than about ten minutes of screentime in total, but still gets to rush in a play hero — and Hammer glamour icon Kate O Mara.
In alone there were a whole host of films that followed similar themes or created entirely new ones of their own, finally allowing the female vampire to bask in the rays of the sun; a place where their male counterparts had never dared to tread. The film also established Ingrid Pitt as one of the few female icons in classic genre films — alongside Barbara Steele and Soledad Miranda; although Miranda is hardly known outside of niche cult circles — placing her shoulder to shoulder with male peers Cushing, Lee and Price, or their forefathers Lugosi and Karloff.
In all other versions that shot is cut. The restored edit feels more natural, and while most casual viewers may not notice the difference, for knowledgeable collectors this is a goldmine.
Other than that, the viewing experience feels very filmic, with natural film grain underpinning but never intruding on the organic-looking texture. There are some occasional flaws and tiny specs in the film print, but they are of no consequence; in fact they add to the welcome impression that one is watching a film on celluloid. No issues with the soundtrack either, which is full and clear, just like on the previous releases.
We are given the original English track and also the German-dubbed track.
It provides background and context on both the literary Carmilla, and on the film, featuring a lineup of the usual Hammer experts. We also get a new German-language commentary from film historians, Dr. Rolf Giesen und Volker Kronz.
Finally, a photo gallery full of international stills, posters, and lobby cards, which are very well reproduced. The Vampire Lovers is mandatory viewing for anyone interested in the genre, and the new Anolis release excels over previous releases with their restored pre-credit sequence.
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Dear Katt, before MGM restored this film in the early s I wrote to them regarding the decapitation shot. They wrote back and denied its existence. Later they came under fire for not restoring the full frontal, and after complaints…well, you know the story. It was funny being told that the decap was my fantasy, but this is and always will be my favourite film and I know it backwards! That is where the shot has been lifted and it was an extra on the German DVD.
The quality of my recording is so much better than that extra, and improved by the application of a noise filtre. A couple if years ago I wrote my own adaptation which one can find on fanfiction.
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Thank you for your kind review of my most treasured cinematic moment. Thank you for posting this. But it's still on the lower end of the Hammer totem pole, at least amongst the ones I've seen. The problem with both films is that it spends too much time explaining the back story and not enough time on exciting events from the present day. The movie opens with a lengthy flashback about a guy seeking revenge for his sister by beheading a vampire awesome!
Plus he weakens the prologue version by endlessly droning on the entire time, with all the conviction of the assistant principal reading the lunch menu over the PA system.
Had I not watched Lust yesterday I probably would have enjoyed it a bit more, since it's similar. Carmilla Ingrid Pitt in this one - so the character inexplicably got younger in the sequel pretty much does the same thing in this one, seducing men and women alike, randomly killing a few others in the meantime.
So it's a better version of the story I just saw, one that wasn't particularly exciting in the first place. It's also something that could have been avoided if Netflix's suggestion system was worth a damn. If you guessed Lovers , you'd be wrong, yet you'd be correct with either of the others. I'm sorry that I don't have time to fully research each movie I see before sitting down to watch it in fact I prefer to know as little as possible ; how silly of me to assume that another film from the same lesbian vampire series would come up before a movie about a shark.
But back to my point, this one is superior, partly due to the more focused story.
The Vampire Lovers trailer () - video dailymotion
Carmilla has two main targets this time, one being the innocent and sweet girl named Emma an actress who often resembles a robot due to her expressionless, rarely blinking eyes , and the other is Madame Perradon, who is a bit more "mature" but seemingly less of an interest - she sort of just has her to do some of her grunt work. There's a fun subplot in the third act involving the placement of garlic around Emma's room, with Carmilla trying to seduce everyone in sight to get them to remove them for her so she can get at her, which they milk for every possible angle and keep it rather entertaining, surprisingly enough.
The Count I think? In fact as I watched it I realized that my occasional confusion during Lust had nothing to do with not seeing this film - I found this one just as baffling at times and having zero to do with the later film other than Carmilla who, again, was played by a different actress anyway. I sort of wish Emma had returned in the sequel, since she had some sort of psychic link to Carmilla that they could have exploited in some way, but alas.
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I was also tickled by Emma's continual fears about a fat and fluffy cat named Gustav. As a cat owner, I find the idea of being scared of cats rather silly, but I think anyone would be amused by Emma's repeated insistence that the thing was trying to get her.