Lemora: A Child's Tale of the Supernatural

Never had heard of this one before, and I assumed it would just be a low-budget snoozer - but it's not! It's pretty damn good! Angelic girl leaves her church to find her murderous dad so she can forgive him and finds herself involved with vampires instead. Very well shot and quite creepy. This deserves more attention. Plenty of tension; it feels like there's something supernatural and terrifying around every corner. Cheryl Smith made her debut here - she would later adopt the professional nickname Rainbeaux and briefly play with the Runaways band.

The late and sorely missed Cheryl Smith stars as Lila, the lovely pubescent daughter of a notorious gangster, who is being fostered by a kind-hearted minister. Unaware of her father's whereabouts and concerned for his well-being, she receives a letter indicating that he lays ailing in a mapped location, and should she choose to visit him, then she must do so alone. Thus begins Lila's dark odyssey...from the minute she steps away from the familiar safety of her front door, her nest of childhood innocence is given way to a bleak and frightening world fraught with drunks, strumpets, and lecherous men...but a corporeity of a far more uncanny and sinister nature awaits her at her journey's end...the mysterious letter she received was a siren-song luring her to the incommunicado home of Lemora, a vampiress with an appetence for the blood of youths. This ancient, statuesque creature resides with her cackling old charlady and a mottle of emaciated children in a dark swampland where savage ghouls prowl the night.

The bizarre nexus ensuingly forged between Lemora and Lila is simultaneously horrific and erotically charged...the small-framed, willowy Lila futilely resisting, though apprehensively drawn to, the imposing and mysterious Lemora. It's an arousing 'butch/femme' dynamic which works well, and is illustrated more intricately than most examples of the gratis lesbiana inclusive to vampire cinema.

An artfully executed celestial nightmare with subtexts touching on religious hypocrisy and elegiac loss of innocence, LEMORA demonstrates perfectly how integrity, creativity, and resourcefulness can compensate heartily for dearth of funds in a motion picture production.

Superior. 9/10.

This is an unusual and enjoyable film that may have ambitions beyond it's means but is nevertheless a very brave attempt to do something just that little bit different. We begin with Cheryl Smith as the angelic, purer than pure, Lila Lee, star of the local church and living under the protection of her minister in the absence of her gangster father. Both here and later in the scenes with the magnificent lesbian vampire, Lemora, played by Lesley Taplin (Gilb) there are unmistakable hints that these older 'guardians' have more than the interests of the virgin child at heart. The opening scenes in the church and the later ones in Lemora's residence are colourful and rather grandly shot but it is the sequence depicting the young girl's seeming trip to find her father that is most astounding. From the moment she leaves the protection of the minister, she seems not only most vulnerable but the sets seem flimsy and almost laughable, but I'm guessing that this was deliberate and that even the bumpy creaky bus with the unbelievable driver are all designed to let us know that maybe not all is how it seems here. After this great sequence we meet the impressive Lemora and various zombies but despite a rather creepy bath scene there is just a little too much, running about. Still, unusual and well worth seeing.

It isn't hard to see why 'Lemora' was condemned by the Catholic film society. It's the story of a pubescent girl's fall from innocence and her sexual awakening, told in a 'fairytale for adults' manner. There are some amoral scenes to sit through with hints of lesbianism between the child and her vampire tutor that occasionally come across as sleazy, especially when the pubescent girl is given a bath by Lemora ('What an exciting figure you have').

Ambitiously set in the 1920s, a gangster brutally murders his wife and her lover before disappearing into the country. His thirteen-year-old daughter, Lila Lee (played by Cheryl Smith*) is cared for by the Reverend Mueller (director, Blackburn), who secretly houses sensuous feeling for his little choirgirl. Lila is delighted when she receives a letter from the mysterious Lemora, detailing her father's deteriorating condition. Lemora demands that Lila be present at her father's bed immediately. Lila's journey to Lemora's hidden cottage, through dense dark woods is constantly plagued; firstly, by lecherous older men, then a psychopathic bus-driver and then a group of fanged beasts who chase her from the bus. The seductive Lemora's house is filled with children, all of whom are part of her growing legion of vampires. The Reverend has decided to admit his sordid desires to Lila and begins to search for her. You'd think that was enough plot development, but after this point more twists follow, which might confuse some viewers.

'Lemora', a late night TV favourite, is considered to be one of the classic vampire films of the early seventies, opposite 'Count Yorga, Vampire' (Bob Kelljan, 1970). There strong sexual overtones and the corruption of innocence storyline were the prime reasons why the Catholic Film Board wanted this film banned for almost twenty years. Due to its lack of budget, (poor sound and sketchy cinematography) and European feel, the film often looks like a porn film which doesn't help matters concerning the sexual connotations, but they're never really presented in a exploitative manner.

A dark, atmospheric little film, it is quite bizarre and intriguing to watch, with shadow enhancing lighting, flashy colours, great sets, and a fine lead performance by Cheryl Smith, who is a perfect choice to play an innocent uncorrupted. On the other hand, the writer-director gives off a somewhat restrained performance as a priest, and towards the end, the film heads off into rather messy territory, with excesses of horror and too many slow motion, plus it takes forever to wrap the story up. There are some interesting ideas at hand, and a few worthwhile production elements, but overall this is a film that is much more so interesting than it is great.