Lust of the Vampire

When four young women are found in Paris with the blood completely drained, the ambitious and snoopy journalist Pierre Lantin (Dario Michaelis) decides to investigate the cases of the killer known as The Vampire. Inspector Chantal (Carlo D'Angelo) does not approve Lantin´s behavior. Soon Pierre suspects that family Du Grand, who lives in an ancient castle, may be involved with the murders but Inspector Chantal does not give support to his investigations. Meanwhile Pierre avoids the harassment of Giselle du Grand (Gianna Maria Canale), who is the niece of the wealthy matriarch of the family Margherita du Grand.

"I vampire" is a great Italian horror film with a story of the search for the eternal youth. The film was directed by Riccardo Freda, who left the production that was concluded by Mario Bava (uncredited). The beauty of Gianna Maria Canale is impressive more than sixty years later. My vote is seven.

Title (Brazil): "Os Vampiros" ("The Vampires")

Paris is plagued by a murder spree. French reporter Pierre LaSalle (Dario Michaelis) is hot on the trail of what he thinks is a vampire killing off young strippers. LaSalle is also being courted to his dismay by his ex-lover, Giselle du Grand (Gianna Maria Canale - Goliath vs the Vampire), granddaughter of the mysterious Duchesse du Grand. Meanwhile, across town at the Institute of Experimental Surgery, the Duchesse is working with professor Julien du Grand (Antoine Balpêtré) to help develop artificial blood. Soon enough, reporter LaSalle gathers enough clues to confirm his crazy theory, and soon learns the truth about the Duchesse, the professor and even Giselle.

This film is the foundation of the short-lived Italian gothic horror sub-genre. Containing much of the elements of the classic American horror films of the 40s (dimly lit corridors, musty dungeons, mad doctors, rotting skeletons etc), this atmospheric production didn't do well in Italy. Only years later, after the success of the Hammer Studios (England) gothic horror revival, was this movie rediscovered and appreciated for what it was. Director of photography Mario Bava (Black Sunday, Lisa and the Devil) gives a great look to this Elisabeth Bathory-inspired tale, using low angle shots and highly contrasted lighting. Bava also took over direction when Freda left the set halfway through production. Look for a young Paul Müller (Nightmare Castle, Bram Stoker's Count Dracula) as the hired killer.

The way this movie is played out makes it more or a mystery than an horror really. It was also an early Italian horror production, so they were still mostly trying out some new stuff in this one. It was also the first one to involve the later to become legendary Italian horror director Mario Bava, who had some major influences on the future development of the genre.

The movie its title might be a bit misleading. It's not really your average vampire flick, featuring blood sucking villains. It features a vampire like creature but she hardly gets her hand dirty in this movie. the movie picks more a detective like approach, in which the police is investigating the strange disappearances and murders of young women. Nothing wrong with this approach of course but you sort of have to know what to expect, in order not to end up disappointed.

Can't always say that the story played out too well. They could had definitely done something better and more interesting with its premise at times. But like mentioned earlier, this was still being an early Italian horror production, from the time they were still searching for the right tone and balance. The movie is still lacking in its atmosphere, which is also one of the reasons why this movie doesn't really feel like an horror. It's definitely not an horrible movie, it's still being quite good to watch for most parts. It's a movie that knows to hold your interest and also still works out quite original, due to its unusual approach, for a movie of this sort.

Definitely a good movie but be sure what to expect from it.

7/10

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This one mainly works because of the amazing set direction and Gothic spaces. As it gets going it feels like a typical 1940s style murder mystery, with young women having gone missing, but hardly a horror movie at all. But when another girl disappears the search leads to an empty apartment building and then to the castle of a certain Countess du Grand, who happens to be enamored of the lead detective on the case. Though the castle appears to be of evil repute, the countess attracts guests to a ball, and the affections of another reporter. She is a mysterious figure, living in adulation of a portrait of the reporter's father, playing antique record players. The castle sets are stunning productions, drawing one into the horror that sustains her beauty (a storyline explored further in Eyes Without A Face, The Awful Dr Orloff, The Faceless Monster, Mill of the Stone Woman and Countess Dracula) . The movie literally gets gobbled up by the Gothic atmosphere of the castle, with its incredible gargoyles, elaborately Gothic crypt, secret passages, baroque cobwebs, pillars marked with demonic images, and a Sleeping Beauty tangle of vines on the grounds. The reliance on scenery alone to communicate a descent into a sadistic unconscious reminds one of Cocteaus Beauty and the Beast though the strategy was tried too in 40s Hollywood. When at last the mystery is discovered, here too the special effects are quite well done. Mario Bava was involved in the photography, just testing his fogbound vision of Gothic mystery, and it shows. After starting out all cops and robbers, this one ends up with a completely satisfying expression of pure demented horror.

Italian cinema goers long held an aversion to horror films and thirty-seven years were to elapse between the silent 'Frankenstein's Monster' of 1920 and this film of Riccardo Freda. It's production problems have been well documented. Considering its miniscular budget, ludicrously short filming schedule and the late exit of its director, the end result is not at all bad. The film's cinematographer Mario Bava stepped up to the plate and it is indeed notable for its visual style. The ballroom scene is especially impressive and the production design by Beni Montrasor evokes a feel of Edgar Allan Poe. Budget dictated that the period be updated to the mid-twentieth century but this actually works in the film's favour.

Although they remained married until his death this was to be the last film in which Gianna Maria Canale appeared for Freda. At a height of 5' 8'' this ravishing raven-haired, green-eyed former Miss Florence is just right as Giselle du Grand who relies on the blood of others to maintain eternal youth. Unfortunately for her the effects do not last long and she begins to show her true age at the most inopportune moments! Scientist Julien who attempts to perfect the process is played by Antoine Balpetre. Her supply requires regular topping up and one of the reluctant 'donors' is lovely Wandisa Guida whose career alas did not amount to much. The weak links in the film are Carlo d'Angelo as the policeman and Dario Michaelis whose role as the journalist has been enlarged by Bava. Both alas are rather bland and the screen empties when they appear. One would like to think that La Canale's husky voice is her own but thanks to the ineffable mysteries of Italian post-synchronisation most of the cast is dubbed.

Although far from being classic horror it is very watchable and is obviously of interest in relation to where it stands in the history of the genre. The character of Giselle is no doubt inspired by the legendary Elisabeth Bathory whose best personification is that of Delphine Seyrig in 'Daughters of Darkness'. Mario Bava went on of course to direct the stylish 'La Maschera del Demonio'.

It was not 'I Vampiri' which popularised the genre but apparently the Hammer production 'Dracula' to which this dubious honour belongs. Terence Fisher's film introduces the concept of vampirism as somehow being sexy and glamorous rather than the pestilential curse it really is.