The Vampire

...and probably the best one to date.

Surprisingly creepy and atmospheric black and white Vampire movie. This looked like the Coffin Joe series at times because it has excellent settings, music, and cinematography. On the other hand, the movie has some parts that were meant to be funny but that's just Mexican typical humor that maybe some others won't understand. The direction is truly memorable, it deserves a special mention because it is very stylish and atmospheric. For example, whenever the vampire is about to attack, you can clearly see advanced camera and lightning techniques (for it's time). The way the lightning focuses on Robles' face is creepy. The events are fast paced but in a suspenseful manner.

The vampire characterization is pretty good as our main hero (or villain?) is a sui generis Mexican vampire. Germàn Robles delivers a fantastic performance based on erotism, and creepiness. Believe me, he is a unique vampire, like none other you haven't seen. Once he said that he liked how this vampire is an erotic, dark character because he appears at night, 99.9% of his victims are women that use sexy lingerie, and he likes to possess souls through their blood. His presence is creepy enough.

As one of the reviewers said, this movie obviously inspired the Hammer vampire flicks. That makes me proud as I'm Mexican and I'm a big fan of Hammer.

This movie is heavily underrated to the point that only avid Horror fans from around the world know about it; not even Mexicans seem to recall this cult Horror movie.

Please, watch this movie and you will be pleased. Recommended for Vampire Horror fans, and Horror fans of Black and White movies.

I have just seen El vampiro during a Latin American Film festival held in Amsterdam and Rotterdam, where its protagonist German Robles was present as guest of honour.

El vampiro is imaginative rather than talkative and has imagery no American fifties vampire flick can match. The story, of course, is lame and predictable, and, as Latin movies go, there is a lot of supernatural hokum coming with it. The overriding presence of Robles, together with the humor and the menacing, beautiful atmosphere, make up for it.

Vampiric action is kept to a bare minimum and the man-to-bat-metamorphosis (and vice versa) challenges in no way the 1932 standard. Nevertheless, it is one of the classics of the genre.

If you want to know how a vampire lady looks when she tries very hard to look like a vampire lady - well, the film gives you ample chance. One last thing: the soundtrack, however primitive, is a revelation: good vampire music and sound effects culminate in the humorous ending, when the leading man's words are drowned by the departing train's whistle. Nearly perfect.

I had heard a lot about this Mexican horror classic and cult film by Fernando Méndez: that it was a remarkable B&W production, that it established the vampire genre in México, that it was the first movie in which the vampire had fangs and –most of all- that it was intentionally funny in parts. I had seen its sequel, "El ataúd del vampiro" (The Vampire's Coffin) when I was 8 years old, of which I have a vague memory. Now, after 47 years of its release, I've finally seen "El vampiro" and to my surprise it is better than what I expected. Producer Abel Salazar knew what he was getting into –as probably did Luis Buñuel when he made "Abismos de pasión", adapting Emily Brontë's "Wuthering Heights"- and decided not only to approach the tale of an Hungarian vampire in México with humor, but to play the leading part of the doctor with comic touches, as a cynic and fearful hero. Beautiful Ariadne Welter (Tyrone Power's once sister-in-law, sometimes credited as Ariadna) is the young heroine who returns to her family hacienda in Sierra Negra (Black Sierra) and meets Salazar on her way, while they are followed by her aunt (Cuban soap opera superstar Carmen Montejo), a spinster under the spell of Count Duval (Germán Robles), the local vampire. The initial situation reminded me of the Hammer Films production "Kiss of the Vampire", which was made a few years later: a young woman being observed and chosen to be part of the undead, though in this case the open setting is darker and in obvious decay. What was surprising to me was the plot's twists, which seem quite original for its time and probably not yet equaled, mainly the introduction of a woman buried alive (Alicia Montoya) –whose appearance predates Myrna Fahey in Roger Corman's "The Fall of the House of Usher"- who protects the heroine and has a decidedly active part in the conclusion. Although screenwriter Ramón Obón takes many elements from Bram Stoker's classic novel, he introduces clever touches, immensely helped by Rosalío Solano's cinematography, Gustavo César Carrión's eerie score and Méndez' firm direction. As a research, it's also interesting to see another movie by Méndez, "Ladrón de cadáveres", which paved the way for a unique Mexican cross of genres: the wrestler and horror films.

A young woman (Ariadna Welter) arrives at the isolated town of Negro Sierra at the same time as a wooden crate full of Hungarian soil and a happy-go-lucky salesman (co-producer Abel Salazar) after being summoned by her uncle to the sickbed of one of her aunts. Hitching a ride with the strange man who arrives to collect the crate, the pair arrive at her family's grand hacienda to find it in a state of disrepair and her aunt already apparently dead and buried. The woman's other aunt, however, seems unchanged since the girl's visit as a child and is strangely lacking a reflection…

El Vampiro was my first taste of Mexican horror, and for some reason I was expecting some low-budget, low-talent effort. While this flick from Fernando Mendez clearly doesn't have the kind of budget enjoyed by the contemporaneous Hammer films, it certainly is the work of a decent talent. Read most of the reviews on this page and you'll find one word that keeps popping up again and again: atmosphere. This film has got it to spare with good use of light and shadow - and lashings of misty smoke - giving it a real touch of class. The film doesn't exactly gallop along, but its never dull, and overcomes the drawback of a hero who initially seems irritating but actually ends up being quite likable.

The storyline follows pretty much the same template as the Hammer flicks: virginal heroine, in danger of seduction and/or death by suave but evil vampire, is saved by dashing, heroic type (even though the hero here has a touch of the comical about him). If you're not a fan of old horror films you're not likely to be impressed by this example of the genre: by today's standards it's very tame (even though it was rated 18 on the DVD), and unlikely to scare even a ten-year old.

My first time seeing this solid Mexican horror film properly in its original language, as intended. It's certainly one of the finest of its genre, with German Robles in good form as Count Lavud, the Vampire. A pretty young woman travels to the eerie mansion of her ancestors, accompanied by a doctor (Abel Salazar). Something is not quite right when she learns that one of her aunts has just mysteriously died, and another aunt seems rather strange and exceptionally young. It turns out that the blood-sucking Lavud is behind it all, and Salazar has to take on the role of hero. I was very impressed with the consistency in set design, production values, and all-around creepiness and foggy atmosphere that helps make this winner a classic of its kind. Abel Salazar produced this himself, reportedly very keen on following in the step of the old Universals, and it pays off handsomely. *** out of ****