Lemora: A Child's Tale of the Supernatural

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.

This highlight of seventies horror cinema is a vibrant and lush Gothic fairytale story of a young girl's odyssey as she searches for her father in a world of vampires and demons that wont hesitate to take her innocence at any opportunity that they get. Richard Blackburn's film takes influence from a number of sources across both film and literature, but in spite of this; the writer-director has managed to mould together a tale that is both haunting and original. The story follows Lila Lee, the daughter of a notorious gangster who, after finding his wife in bed with another man, proceeds in blowing both her and her lover to bits. Shortly after her father had fled the town to avoid the law, Lila Lee receives a letter telling her that her father is on his deathbed and wants her to come and see him. Only thing is, this letter is signed 'Lemora'. The film plays out like an offbeat coming of age drama, with the innocent young Lila Lee learning that all is not as it seems, and that danger lurks around every corner. The supernatural elements serve brilliantly as a metaphor for the similar dangers in real life.

The acting in Lemora clearly isn't the most important aspect of the film, but there are still some notable performances on display. Cheryl Smith takes the lead role as the angelic Lila Lee, and completely looks the part as a bewildered young girl in the centre of a world she knows nothing about. The title role of 'Lemora' is taken by Lesley Gilb. This actress doesn't have a film credit to her name after this film, and it's not really surprising as despite looking the part; her performance is wooden in the extreme. Writer-director Richard Blackburn is surprisingly effective in his small role as a reverend. He completely convinces as the odd god fearing preacher. Really, though, it's the more aesthetic elements of the film that rule; and the atmosphere and the make-up are absolutely excellent. The nighttime filming helps to create a sense of danger at every turn, and brilliantly compliments the fear that the child at the centre of the story is feeling. The make-up is effectively done, but not overdone; which makes the monsters feel very real despite their otherwise otherworldly appearance. Lemora, despite it's low budget and inexperienced crew, is a surprisingly professionally done film. While most films released at this point in time relied on high body counts and gore levels to draw audiences; Richard Blackburn has put the focus on story and atmosphere, and that is why Lemora is the enduring, albeit lost, classic that it is today.

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.

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.

Scary repeated showings on Thing Theater in Chicago during the 70's did their damage to me. Vampirism, lesbianism, witchcraft all done in that plodding, atmospheric 70's way. Eerie.