Thursday, 28 May 2009
Oasis Of Fear (1971)
Also known as Dirty Pictures, its original title is in Italian, this film is usually referred to as a giallo. Probably because theres a murder in it and it comes at a time when director Umberto Lenzi was making gialli. However it isn't a giallo really, it's more of a straightforward thriller. The twist involved can unfortunately be seen a mile off, and not just guessing the main thrust of the twist - the whole caboodle and the ensuing events are easily guessed. However the film is most enjoyable. Two young lovers visiting Italy take to selling porn to raise big bucks, which works. They lib=ve the high life for a short while and become penniless again. So they make their own porn (Dirty Pictures) but get busted trying to sell it. Told to leave the country they run out of petrol near a remote-ish house and try to steal; some petrol. They are found by the lady of the house who eventuially takes pity on them and invites them in and soon they are having a party. But has the lady a hidden agenda? You betcha. And soon the games of cat and mouse begin. All good wholesome fum with some added unnecessary sleaze thrown in because it's an Italian picture from 1971. A special mention has to go to the soundtrack -excellent upbeat euro nonsense.
War Of The Worlds (2005)
Oh I don't know. This should have been good, but was actually sort of...empty. Even if you take out that most over-rated of 'actors' Tom Cruise, it's still too much on the blah side. Personally I think Spielberg has lost his movie making heart (from what I've seen which lately, admittedly, isn't a lot) and all that is left is reliance on CGI. Perfectly watchable but absolutely no grit whatsoever.
Monday, 25 May 2009
My All-Time Favourites - Pt 1 - Swallows And Amazons
Over the course of this blog I will attempt to look at the films that I consider to be my all time favourites. Some of them may not be great films, but they will all have at one time endeared themselves to me in such a way they still give me that same warm feeling inside as they did when I first saw them. Some films pale after a time - some to a degree that you wonder what you ever saw in them in the first place. But some stay with you, having built themselves a home in my consciousness and occasionally have been life changing events.
For the first it seems quite apt to go back to one of the first to grab me in such a way - Claude Watham's 1974version of the perennial Arthur Ransome classic children's story Swallow And Amazons. A simple tale of a family holiday in The Lake District in 1929. The Walker family arrive in the Lakes and the four Walker children set off to camp on the island on the lake on their boet, The Swallow. There, they meet the Blackett girls, whose boat is The Amazon and they have fun creating their own adventures. And that's all there is really. Except, of course, there is so much more underlying the simplicity of the story. As with the books, the most endearing aspect of the books, and in such the film, is that the adventures they have are created by themselves. No spies to rounded up, no hidden treasure (well, nearly none), no being tied up in cellars by surly bearded men etc. In essence it is the kind of childhood adventures that we all got involved in - the ones that were limited only by our own imagination. The Lake then becomes the Wide Open Sea, and charted accordingly, with every bay, inlet, stream being accorded an exotic name - Shark Bay, the Amazon river, Rio. One of the greatest achievements in the film is how the landscape is shown as it appears in the children's imagination. While certain shots do show the relative close proximity of the island to their holiday home, when they are abroad in their world, we see it as a deserted island set in a silvery sea of vast scope. The moutainous landscape on the horizon only adds to this feeling of solitude, a world where adults are far, far away. And as viewers, we identify with this feeling of freedom, because we all surely at one point in our childhood, revelled in those moments where there are no adults present and we are left to our own devices.
The locations are a big help to the film, and they not only filmed in the Lake District, but Wildcat Island is actually Peel Island, the origianl inspiration for Wildcat Island, thus adding a 'realism' usually missing from book to film translations. There before your very eyes is the landing bay, the campsite and the secret harbour, exactly how Ransome, and thus his characters, saw them.
When, in the film, they land in 'Rio', they land in Bowness, another true representation with the added bonus of seeing Bowness as it was in the 70s, albeit done up to look like the 20s. Not long after, this pleasant location was morphed into the tourist trap monstrosity that is today.
While it isn't hard to film the Lake District in its best light, to film it from a child's viewpoint isn't that easy but Whatham does it making it a microcosm for juvenile explorers and while the action takes place in what is probably a few square miles the impression of a limitless wilderness is thoroughly well realised.
It would be too easy to frown at the amateurish acting on view from the child actors, and indeed some performances are particularly stilted, but on the whole they manage between them to carry the film. Virginai McKenna as Mrs Walker is on her usual good form and Ronald Fraser, while not perhaps the Captain Flint of the books, involves himself admirably. Both the adult leads are to be commended for playing along with the ethos of a kids film and play it gentle and understated.
Kit Seymour as Nancy seems ill at ease throughout much of the film. This, however, is not how I remember from my first viewing when I was about 11 and going through the first flushes of puberty. Nancy was one of my first crushes and no doubt helped my enjoyment of the film no end. While the crush has obviously gone the way of all adolescent crushes, the character of Nancy still retains my affection and as I read through the books, it was Ms Seymour that I pictured as the domesticated feral tomboy captain of the Amazon. God knows where she is now, but the ghost of my awkward teenage years salutes her.
I have tried to get my children to watch SAA, to no effect though, alas. It seems that stories of children having fun messing about in boats just don't cut the mustard with today's children. The BBC announced a while back that they were going to make a new film of the book, and possibly the others also. I cautiously welcome the idea, but only if they remain true to the spirit of the book/original film. What this story indulges itself in more than anything is the innocence of our childhood years, and if any remake were even to hint that the kids were more hip, more street, then the whole magic disappears instantly.
Not long after my first viewing of SAA I made the first on many, many trips to the Lakes. I was instantly as captivated as the Walker children. Each time I arrive in the Lakes I am back in the land of Swallows and Amazons and I have never made a trip there without thinking of this film. For a beautifully filmed adventure of childhood innocence and exploration, for me, this has no equal (although fans of The Railway Children may argue that point. But there's no sailing in that!)
For the first it seems quite apt to go back to one of the first to grab me in such a way - Claude Watham's 1974version of the perennial Arthur Ransome classic children's story Swallow And Amazons. A simple tale of a family holiday in The Lake District in 1929. The Walker family arrive in the Lakes and the four Walker children set off to camp on the island on the lake on their boet, The Swallow. There, they meet the Blackett girls, whose boat is The Amazon and they have fun creating their own adventures. And that's all there is really. Except, of course, there is so much more underlying the simplicity of the story. As with the books, the most endearing aspect of the books, and in such the film, is that the adventures they have are created by themselves. No spies to rounded up, no hidden treasure (well, nearly none), no being tied up in cellars by surly bearded men etc. In essence it is the kind of childhood adventures that we all got involved in - the ones that were limited only by our own imagination. The Lake then becomes the Wide Open Sea, and charted accordingly, with every bay, inlet, stream being accorded an exotic name - Shark Bay, the Amazon river, Rio. One of the greatest achievements in the film is how the landscape is shown as it appears in the children's imagination. While certain shots do show the relative close proximity of the island to their holiday home, when they are abroad in their world, we see it as a deserted island set in a silvery sea of vast scope. The moutainous landscape on the horizon only adds to this feeling of solitude, a world where adults are far, far away. And as viewers, we identify with this feeling of freedom, because we all surely at one point in our childhood, revelled in those moments where there are no adults present and we are left to our own devices.
The locations are a big help to the film, and they not only filmed in the Lake District, but Wildcat Island is actually Peel Island, the origianl inspiration for Wildcat Island, thus adding a 'realism' usually missing from book to film translations. There before your very eyes is the landing bay, the campsite and the secret harbour, exactly how Ransome, and thus his characters, saw them.
When, in the film, they land in 'Rio', they land in Bowness, another true representation with the added bonus of seeing Bowness as it was in the 70s, albeit done up to look like the 20s. Not long after, this pleasant location was morphed into the tourist trap monstrosity that is today.
While it isn't hard to film the Lake District in its best light, to film it from a child's viewpoint isn't that easy but Whatham does it making it a microcosm for juvenile explorers and while the action takes place in what is probably a few square miles the impression of a limitless wilderness is thoroughly well realised.
It would be too easy to frown at the amateurish acting on view from the child actors, and indeed some performances are particularly stilted, but on the whole they manage between them to carry the film. Virginai McKenna as Mrs Walker is on her usual good form and Ronald Fraser, while not perhaps the Captain Flint of the books, involves himself admirably. Both the adult leads are to be commended for playing along with the ethos of a kids film and play it gentle and understated.
Kit Seymour as Nancy seems ill at ease throughout much of the film. This, however, is not how I remember from my first viewing when I was about 11 and going through the first flushes of puberty. Nancy was one of my first crushes and no doubt helped my enjoyment of the film no end. While the crush has obviously gone the way of all adolescent crushes, the character of Nancy still retains my affection and as I read through the books, it was Ms Seymour that I pictured as the domesticated feral tomboy captain of the Amazon. God knows where she is now, but the ghost of my awkward teenage years salutes her.
I have tried to get my children to watch SAA, to no effect though, alas. It seems that stories of children having fun messing about in boats just don't cut the mustard with today's children. The BBC announced a while back that they were going to make a new film of the book, and possibly the others also. I cautiously welcome the idea, but only if they remain true to the spirit of the book/original film. What this story indulges itself in more than anything is the innocence of our childhood years, and if any remake were even to hint that the kids were more hip, more street, then the whole magic disappears instantly.
Not long after my first viewing of SAA I made the first on many, many trips to the Lakes. I was instantly as captivated as the Walker children. Each time I arrive in the Lakes I am back in the land of Swallows and Amazons and I have never made a trip there without thinking of this film. For a beautifully filmed adventure of childhood innocence and exploration, for me, this has no equal (although fans of The Railway Children may argue that point. But there's no sailing in that!)
Dracula's Daughter (1972)
Jess Franco has a name for himself and some of it is rather unfair. Known for his zooms (especially of female nether regions), out of focus shots, gratuitous sex scenes etc. Whether this is fair or not Dracula's Daughter seems to encapsulate all of Franco's perceived filming techniques. Unfortunately it also plays into his detractors hands as the film wanders aimlessly, seemingly just waiting for the next lesbian lovemaking scene. The story of a young lady being told of her family's curse on her grandmother's deathbed could have been better but Franco is in one of his more laviscious moods and without some of his more artier veins present the film just drags, something that I don't usually mind in his films. Not all bad, but you end up wishing for more. Howard Vernon in particular is woefully under-used as Cout Karlstein/Dracula, never once straying from his coffin. He does, though, manage to encapsulate the Hammer feel during the opening credits. It's just a shame he couldn't keep it up.
Saturday, 23 May 2009
Bean (1997)
This first Bean movie cannot fail to raise a few chuckles but ultimately is a complete misfire. Many mistakes are made in translating the character to the big screen, and the main one is Peter MacNicol who, through no fault of his own, is misused as the protaganist for whom Bean can play off. He's simply not a straight enough straight man. Add to that the americanisation of the whole thing and it just sinks like a brick mini. Compared to his European venture this is one big damp squib.
Sodomas Ghosts (1988)
Lucio Fulci is a director who divides fans of Eurocult films. Many find him a hack who hasn't brought anything other than workmanlike entries into a variety of genres depending on what is hot at the time. However, he has produced some classics, as the recently watched Don't Torture A Duckling can easily testify. However, in Sodomas Ghosts he plays into the hands of his detractors. Beginning with an orgy at a chateau of some nazis that gets bombed, we flash forward to some youths who get lost and end up at the chateau where the ghosts lead them on a merry dance of horror and torture before ultimately escaping. A simple story but Fulci it seems can't be bothered with it and the whole thing flops along from one uninspired set piece to another. It's a shame as it should have been putty in his hands. Regardless, this film should not be seen as typical Fulci. Even Hitchcock made turgid films.
The Ruins (2008)
You get a feeling of deja vu with this story of 4 young Americans on holiday who meet someone who takes them to some out of the way destination only for it all to wrong. Similarities with Hostel (no torture though) and Paradise Lost. Not badly done, but you have seen it all before.
Wednesday, 13 May 2009
The Da Vinci Code (2006)
Can't be arsed explaining the plot, you must know what it's about.
The first thing that struck me was the, to my mind, miscasting of Hanks and Tatou. Not their fault really, as it's just that they were not how I pictured their characters while reading the book. The immensely excellent actor Jean Reno however was who I pictured, so that was good. Sophie Nevu should have been played by Sophie Marceau, and anyone who thinks differently is wrong. The puzzles that are so much a part of the books get lost within the film as there's no time to ponder them, scour the internet for background facts etc which is where most of the fun in the book was to be had, for me at any rate. The film seems strangely empty because of this. Watchable (especially for the always dependable Ian McKellen) but that's about it. Would have been better as a six hour TV series
The first thing that struck me was the, to my mind, miscasting of Hanks and Tatou. Not their fault really, as it's just that they were not how I pictured their characters while reading the book. The immensely excellent actor Jean Reno however was who I pictured, so that was good. Sophie Nevu should have been played by Sophie Marceau, and anyone who thinks differently is wrong. The puzzles that are so much a part of the books get lost within the film as there's no time to ponder them, scour the internet for background facts etc which is where most of the fun in the book was to be had, for me at any rate. The film seems strangely empty because of this. Watchable (especially for the always dependable Ian McKellen) but that's about it. Would have been better as a six hour TV series
Lars And The Real Girl (2007)
Length 106mins
Director Craig Gillespie
Country USA
Lead Actors Ryan Gosling, Emily Mortimer
Genre Comedy Drama
Language English
Plot Lars is a shy guy, real shy. Living in the garage near the house he co-owns with his married brother, he shuts himself away shunning human contact. One day he buys a rubber doll, a very realistic one, and introduces her to his brother and his wife and his guest/girlfriend. Sensibly, they take him to the doctors who says he is going threough some sorrt of delusional crisis and the best thing for them is to play along, and pretty soon the whole village is playing along.
Comments An offbeat film, this is both charming, poignant and often very funny. Taking a sideways look at human contact, a chunk of suspension of dibelief is needed, but as it comes along as a modern fable that isn't a problem. We know how this film is going to end (to a degree at any rate) but the journey to get there is wonderful
Director Craig Gillespie
Country USA
Lead Actors Ryan Gosling, Emily Mortimer
Genre Comedy Drama
Language English
Plot Lars is a shy guy, real shy. Living in the garage near the house he co-owns with his married brother, he shuts himself away shunning human contact. One day he buys a rubber doll, a very realistic one, and introduces her to his brother and his wife and his guest/girlfriend. Sensibly, they take him to the doctors who says he is going threough some sorrt of delusional crisis and the best thing for them is to play along, and pretty soon the whole village is playing along.
Comments An offbeat film, this is both charming, poignant and often very funny. Taking a sideways look at human contact, a chunk of suspension of dibelief is needed, but as it comes along as a modern fable that isn't a problem. We know how this film is going to end (to a degree at any rate) but the journey to get there is wonderful
Dellamorte Dellamore (1994)
Francesco Dellamorte has a strange job. He lives in a cemetery with his simple best friend and is employed to kill the dead who rise 7 days after being buried. But he falls in love with a woman who keeps dying and reappearing, and he ends up as a serial killer who the authorities refuse to blame for the killings. He begins to question the difference between the living dead and 'dead' living.
A crazy film that must be the last word in the Italian zombie cycle. Chock full of way too many themes for me to even begin to dissect on one viewing. Full of gore, humour and weird sex, this is a highly stylised film with a great central performance from Everett who underplays everything perfectly. Quite why the English version is called Cemetery Man is beyond me as the literal translation, 'of death, of love', is perfect. One to savour, watch again,savour a bit more, then have another viewing.
A crazy film that must be the last word in the Italian zombie cycle. Chock full of way too many themes for me to even begin to dissect on one viewing. Full of gore, humour and weird sex, this is a highly stylised film with a great central performance from Everett who underplays everything perfectly. Quite why the English version is called Cemetery Man is beyond me as the literal translation, 'of death, of love', is perfect. One to savour, watch again,savour a bit more, then have another viewing.
Sunday, 10 May 2009
Horror Hospital (1973)
Robin Askwith decides he needs a holiday in the country. On his way to his retreat he meets a girl going to the same place, which it turns out is run by a mad scientist who conducts wewird experiments on their boarders.
A mixof 70's cheeky comedy and brit horror, this is usually the kind of stuff that is right up my alley, but watching it this time I was just bored. Whether it was just a matter of bad timing or I have finally outgrown this type of film remains to be seen.
A mixof 70's cheeky comedy and brit horror, this is usually the kind of stuff that is right up my alley, but watching it this time I was just bored. Whether it was just a matter of bad timing or I have finally outgrown this type of film remains to be seen.
Night Of The Demon (1957)
Paranormal sceptic Dr Holden arrives in the UK to expose a cult leader just as his colleague is killed. He slowly comes to realise that diabolical events may be taking place and the cult leader may be behind them.
One of the all time classics. Dana Andrews may be a bit stiff, and you have to agree with the director that the appearance of the monster (on the insistance of the backers) does nothing for the film, but the film is still a treat as it charts the mounting terror of Dr Holden, the sceptic who learns to believe. Superb.
One of the all time classics. Dana Andrews may be a bit stiff, and you have to agree with the director that the appearance of the monster (on the insistance of the backers) does nothing for the film, but the film is still a treat as it charts the mounting terror of Dr Holden, the sceptic who learns to believe. Superb.
Bill and Ted's Bogus Journey (1991)
Length 93mins
Director Peter Hewitt
Country USA
Lead Actors Keanu Reeves, Alex Winter, Joss Ackland
Language English
Genre Comedy
Plot Bill and Ted get killed by robotic evil version of themselves and try and cheat death to come back to stop their evil counterparts.
Comments Delivers exactly what you expect.
Director Peter Hewitt
Country USA
Lead Actors Keanu Reeves, Alex Winter, Joss Ackland
Language English
Genre Comedy
Plot Bill and Ted get killed by robotic evil version of themselves and try and cheat death to come back to stop their evil counterparts.
Comments Delivers exactly what you expect.
Tintin and the Golden Fleece (1961)
Captain Haddock inherits an old boat that a lot of people seem to be very interested in. Tintin and the Captain investigate why.
The first live action Tintin and noticeably better than its sequel, Tintin and Blue Oranges - although Captain Haddock was better impersonated in the sequel. As it is, Golden Fleece is a fun , fast moving romp and includes all the characters you expect to see. Snowy is particularly well played! Unseen in Britain since 1973, it's about time these films got a dusting down and aired, which may happen given that Spielberg is currently making his own version of the boy hero. Golden Fleece is good enough, I reckon, for Spielberg not to want it about though!
The first live action Tintin and noticeably better than its sequel, Tintin and Blue Oranges - although Captain Haddock was better impersonated in the sequel. As it is, Golden Fleece is a fun , fast moving romp and includes all the characters you expect to see. Snowy is particularly well played! Unseen in Britain since 1973, it's about time these films got a dusting down and aired, which may happen given that Spielberg is currently making his own version of the boy hero. Golden Fleece is good enough, I reckon, for Spielberg not to want it about though!
Saturday, 9 May 2009
Zombies! Zombies! Zombies!
Some bad crack crystals cause a couple of prostitutes to turn into zombies who then descend on a strip club.
Every decade has had their own scream queens for the horror movies. The likes Fay Wray, Barbara Steele, Ingrid Pitt, Linnea Quigley for example have given an extra lift to many a horror movie and the scream queen has become something of a necessity. One of the newest to add to this list is the wonderful Tiffany Shepis whose committed playing has enlivened many a dull horror movie and made everything she appears in watchable. So after seeing the first two minutes of this dreary 'comedy' horror flick and noticing la Tiff I decided to give it a go the next night. Imagine my (all too real horror) when it turns out that she only appears in the first two minutes. So I was never really going to like this film! And I didn't. The whole thing just seemed a bit hollow although I would say to its credit that most of the actors are actually quite competent. The fault lies squarely with script and director. Pants.
Every decade has had their own scream queens for the horror movies. The likes Fay Wray, Barbara Steele, Ingrid Pitt, Linnea Quigley for example have given an extra lift to many a horror movie and the scream queen has become something of a necessity. One of the newest to add to this list is the wonderful Tiffany Shepis whose committed playing has enlivened many a dull horror movie and made everything she appears in watchable. So after seeing the first two minutes of this dreary 'comedy' horror flick and noticing la Tiff I decided to give it a go the next night. Imagine my (all too real horror) when it turns out that she only appears in the first two minutes. So I was never really going to like this film! And I didn't. The whole thing just seemed a bit hollow although I would say to its credit that most of the actors are actually quite competent. The fault lies squarely with script and director. Pants.
Baba Yaga (1973)
A lady photographer falls under the spell of a witch
Short on plot but nevertheless an arty attempt to film Guido Crepax's comic creation. Quite atmospheric and well done, albeit slow. I never really warmed to the actress playing the photographer, Valentina, which would have helped but overall the film manages to keep your attention.
Short on plot but nevertheless an arty attempt to film Guido Crepax's comic creation. Quite atmospheric and well done, albeit slow. I never really warmed to the actress playing the photographer, Valentina, which would have helped but overall the film manages to keep your attention.
Bulldog Drummond Comes Back (1937)
Stiff upper lip time as Drummond gets involved in yet another fiendish plot. In a rather bizarre plot the fiends have concocted a plan in which they deliver clues to Mr D as to where to find his fiancé so when he does get there they can bump him off, regardless of the fact they had plenty of opportunities to do just that while delivering the clues. Silly, but fast paced and good-natured fun.
Monday, 4 May 2009
Four Times That Night (1972)
Tina and Gianni's date is seen from 4 different perspectives, but what really happened?
A one-off foray into the slight genre of the sex comedy for Mario Bava and it's easy to see why he wasn't tempted back. Not that it's awful, but there is no room for Bava to display his talents and his lack of understanding of directing comedy makes for a somewhat stagey film. In essence a remake of, or a least a direct copy of the idea from, Kurosawa's Rashomon, Four Times That Night isn't as clever as it likes to think it is and significant plot points can be found missing as we move between versions. However it is amusing in places and Daniela Giordano is a treat.
A one-off foray into the slight genre of the sex comedy for Mario Bava and it's easy to see why he wasn't tempted back. Not that it's awful, but there is no room for Bava to display his talents and his lack of understanding of directing comedy makes for a somewhat stagey film. In essence a remake of, or a least a direct copy of the idea from, Kurosawa's Rashomon, Four Times That Night isn't as clever as it likes to think it is and significant plot points can be found missing as we move between versions. However it is amusing in places and Daniela Giordano is a treat.
IQ (1994)
Tim Robbins, a garage mechanic, falls for Albert Einstein's niece when she comes to his garage in her fiance's car. He tries to woo her, aided by Einsyein and his friends.
By-the-numbers RomCom of the type that Ryan was churning out by the bucketload in the 90s. Matthau as Einstein helps make this lacklustre comedy watchable.
By-the-numbers RomCom of the type that Ryan was churning out by the bucketload in the 90s. Matthau as Einstein helps make this lacklustre comedy watchable.
Sunday, 3 May 2009
Suspiria (1977)
Jessica Harper arrives at a ballet school in Europe unaware that the teachers are a coven of witches.
Not a great deal to be said about this movie other than it is one of, if not the, best horror movies ever made. Why on earth they want to remake it baffles me; just re-release it. It is still as visceral, horrifying and goddamned brilliant as it ever was. If you haven't seen it, I suggest you rectify that as soon as possible.
Not a great deal to be said about this movie other than it is one of, if not the, best horror movies ever made. Why on earth they want to remake it baffles me; just re-release it. It is still as visceral, horrifying and goddamned brilliant as it ever was. If you haven't seen it, I suggest you rectify that as soon as possible.
Dude, Where's My Car? (2000)
A 'Bill and Ted' type mindless comedy. There are some heartuy chuckles to be had in what is basically a harmless romp.
Daughters of Darkness (1971)
Length 100mins
Director Harry Kumel
Country Belgium
Lead Actors Daphne Seyrig, John Karlen
Language Dutch
Genre Horror
Plot A young couple arrive at an out of season hotel and are bewitched by the only other occupants, Countess Bathory and her companion.
Comments If you have ever wondered what would have happened if you crossed a Hammer lesbian vampire flick with a European Arthouse movie then wonder no more; you would have Daughters of Darkness. The story takes its time to evolve but the film is constantly sumptious to look at with scenes arranged lovingly as an grand master would do before putting brush to canvas. Colour is an important motif to the story as he uses red dissolves to move between scenes mirroring the Countess' desire for the red sticky stuff. With long, lingering shots of the hotel and its interiors you are reminded of the great arthouse classic, Last Year In Marienbad, which also featured Dapne Seyrig. Seyrig herself adds inestimable class to the proceedings and makes the Countess by far the most interesting character. Next to Seyrig, the others seem nothing more than commonplace. A thoughtful, intelligent piece of cinema that plays down its horrors.
Director Harry Kumel
Country Belgium
Lead Actors Daphne Seyrig, John Karlen
Language Dutch
Genre Horror
Plot A young couple arrive at an out of season hotel and are bewitched by the only other occupants, Countess Bathory and her companion.
Comments If you have ever wondered what would have happened if you crossed a Hammer lesbian vampire flick with a European Arthouse movie then wonder no more; you would have Daughters of Darkness. The story takes its time to evolve but the film is constantly sumptious to look at with scenes arranged lovingly as an grand master would do before putting brush to canvas. Colour is an important motif to the story as he uses red dissolves to move between scenes mirroring the Countess' desire for the red sticky stuff. With long, lingering shots of the hotel and its interiors you are reminded of the great arthouse classic, Last Year In Marienbad, which also featured Dapne Seyrig. Seyrig herself adds inestimable class to the proceedings and makes the Countess by far the most interesting character. Next to Seyrig, the others seem nothing more than commonplace. A thoughtful, intelligent piece of cinema that plays down its horrors.
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