The Velvet Vampire

Uneven pacing and some bad acting detract from The Velvet Vampire's bizarre and dreamy tone as a modern vampire lures a young married couple to her isolated desert home for a weekend of debauchery and neck biting.

Thematically very similar to the better Daughters of Darkness, but there's a lot of new stuff here. For one, the titular vampire has no problems with sunlight or mirrors. For all we know she might not even be a real vampire and could just be some insane woman.

There's not a lot of narrative drive in the film, so if you're someone more interested in plot driven horror films, you might want to think twice before giving this one a spin. If you like slower, more dreamlike films, you'll like it a lot.

Okay, first things first, Velvet Vampire emphasizes neither Vampires, nor Velvet. This film has much more in common with that strange sub-sub-genre of 70's sexual awakening films where a person, or couple, meets an unusual and erotic woman, or man, and travels to a far off place secluded from the reality of everyday life never to return home the same again. In this case it is a couple made up of beefy bodied, effeminate-featured Lee, and his extremely awkward wife, Susan. They travel to the middle of the desert as guests of the weird, beautiful and eccentric Diane LeFanu, the Velvet Vampire. Most of the film involves the erratic far-out shenanigans of these three and slowly but surely the vampire angle builds.

While VV may not involve a lot of hissing, pointy teethed nightcrawlers - it does weave a strange entrancing spell mainly due to the sheer utter weirdness of the trio of folks at its core. These are three actors you would never normally see in a film. Coupled with a very unusual vampire location - a dessert villa - this is tale of the undead that likely has not been seen before or since. And again - it is very 70's!! For this reason alone, I highly recommend a viewing to all fans of Gothic, Vampire or Strange 70's Flicks - as it offers a slightly skewed version of each.

With the Womens Lib movement in full dudgeon in the early 1970s, a few horror movies reflected this revolutionary turn-of-events with varying degrees of success. By far the best was the ravishing Dutch thriller "Daughters of Darkness," with Delphine Seyrig's hypnotic portrayal of a bisexual, blood-thirsty modern-day vampire. But the little-known American trailblazer, Stephanie Rothman's "The Velvet Vampire," should not be overlooked. "B" actress Celeste Yarnall acquits herself beautifully as an enigmatic young temptress who lures a pair of blond, beautiful newlyweds (Michael Blodgett, from the unforgettable "Beyond the Valley of the Dolls"; and Sherry Miles, an embarrassing actress but a certifiable voluptuary) to her isolated abode in the Mojave desert, where she plans to have her way with them. Or does she? "The Velvet Vampire" runs hot and cold--at once a camp hoot, then suddenly a disturbingly erotic example of a perhaps dubious genre. But it casts a unique spell of its own, thanks to Ms. Rothman's artfully detached direction, and the audacious performances of the three leads. Truely "a guilty pleasure" for fans of it's (perhaps) dubious genre, and a haunting oddity worth checking out.

Invited out to a strange mansion, a married couple arrive at a strange woman's home in the desert where she shows them around the area, but when she suspects something is wrong with the host they eventually come to believe she's a vampire and tries to get away alive.

Overall, this was a decent enough if flawed genre effort. What gives this the most to like here is the nearly ethereal approach to the main vampire this takes. The whole ruse about getting them out to the desert mansion and then baiting them against each other with her secret lustful looks, spying on the couple in bed from her hidden chamber behind the mirror, the straight seduction scenes on the husband, or the visions shot through the slow-motion style which is all incredibly enjoyable. This here makes the trip feel more suspenseful the longer they stay knowing what the end game here eventually leads to. That becomes quite fun as the film goes along as the gradual realization of what's happening is brought out. While the looks and remarks she gives hint at the seduction, the oblivious nature of her vampiric tendencies offers a lot of great scenes featuring her attacking and killing others to feed on their blood. This even makes the finale quite fun as the seduction tactics are revealed for some unexpected targets signaling some shocking revelations that take place, and when combined with the closing epitaph and nicely done sleaze in the seduction scenes has a lot to like about it. There are some issues with this one. One of the biggest factors here is the lagging storyline that tends to switch into numerous plot points whenever it's convenient to do so. The couple goes from hating each other to loving depending on the nature of the scene, the ruse to keep them there is wildly inconsistent and plots are dropped at random intervals merely because it sees fit to do so, almost as if it were all made up on the spot. This also explains the inconsistent vampire lore, being out in the daylight, and other factors that ignored tropes for no reason which all brings this one down.

Rated R: Nudity, Violence, Language, and sexual scenes.

Nicely done vampire tale, an early effort for Roger Corman's New World Pictures, breaks from convention in some ways and gives it a refreshingly different environment in which to play out: the California desert.

Super sexy Celeste Yarnall is the enigmatic Diane, a desert dweller who invites young couple Lee (Michael Blodgett, "Beyond the Valley of the Dolls") and Susan (Sherry Miles, 'Hee Haw') to her isolated mansion.

Co-writer / director Stephanie Rothman, the woman behind such other drive-in gems as "The Working Girls" and "Terminal Island", incorporates elements such as eroticism, voyeurism, and mysticism into this often artfully done, dreamlike horror film with palpable desert atmosphere, excellent music, and impressive sun baked cinematography by Daniel Lacambre. The dream sequences are especially enjoyable, even more so when we learn Lee and Susan are having almost the same dreams in unison. Susan often comes off as too whiny and insecure, although one couldn't blame her too much for the latter when they see just how powerfully attracted Lee is to Diane. In fact, both Lee and Susan end up rather intrigued by their cagey and alluring hostess, just not at the same time.

The isolated setting ensures that escape is, while definitely not impossible, certain to be a daunting task. The sequences in the cemetery, as well as those aforementioned dream sequences, are the best in the movie. Restrained use of violence helps to make the bloodier parts that much punchier when they do occur, and in general the use of colour is quite striking. Blodgett and Miles are okay as the couple, but this is definitely Yarnall's show, and she makes the most of her role; both she and Miles show off an appreciable amount of skin. Supporting players Gene Shane, as Carl, and Jerry Daniels, as Juan, are decent as well, with familiar character players Sandy Ward, as Amos the service station attendant, and Robert Tessier - playing a biker, naturally - making appearances as well.

"The Velvet Vampire" is a good little movie for discerning vampire movie lovers to check out, as it continues to remain an overlooked item.

Seven out of 10.