Movie Title: Vampyres
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Okay, 1974’s VAMPYRES admittedly has numerous nude scenes–full frontal female nude scenes, in some cases–that was a prerequisite for the sexploitation awe pouring out of Europe in the 1970s. And yes, the two female players have hourglass figures, big bosoms, and heavenly faces. However, this British indie film, directed by Spanish auteur José Ramón Larraz, has a cinematic lovely that makes it stand out above its contemporaries as a dread film of right quality. Larraz does a improbable job of directing, working in discontinuance conjunction with cinematographer Harry Waxman to ensure that nearly every shot of every scene is a balanced, well-framed image. In keeping with the spooky atmosphere of the moldering English manor house and surrounding grounds obsolete for space shooting, production designer Ken Bridgeman maintains the perfect ambiance throughout. And unlike many other buxom sexploitation actresses of the era, erotic stars Marianne Morris and Anulka (Dziubinska) can actually act, and they do a favorable job in making the eponymous characters both scary and sympathetic.

In addition to the outstanding efforts of cast and crew, the tight, well-written script is refreshingly new–even from this vantage point of some thirty years hence. Avoiding the usual vampire clichés, these VAMPYRES are really more like ghosts who have some inexplicable but insatiable desire to feed on the blood of the living. They don’t have fangs, they can tolerate moderate sunlight, and instead of resting in traditional venerable caskets, they sleep in a wine cellar during the brightest of the daylight hours. They also can eat, drink liquids other than blood, and seem to genuinely relish sex. And they even sometimes have sympathy for their victims, a characteristic that may lead to their ultimate downfall.

The chronicle of the vampire has always been regarded as sexual in nature, especially the intimacy of the flesh-penetrating bite on the neck. VAMPYRES carries this metaphor to the uncouth, with heterosexual vampiric coitus portrayed as an intensely passionate, rigorous event that includes feasting on the blood of the non-vampiric partner. And the eponymous characters in VAMPYRES don’t gently suck from two pricks in the neck; in the midst of sexual passion, they plug inaugurate their victims and lap up the crimson liquid with ferocious, writhing pleasure.

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In short, VAMPYRES is an advantageous British erotic dismay flick that is trustworthy to most others from its era of origin, and it can even stand up against many straightforward, non-sexploitation scare films. It is well written, well acted, and has high production values throughout–and all this in spite of a shameful, grievous budget. Director Larraz and his co-scripters have lift an concept that they could play for camp or sheer sexploitation and, instead, boom a thought-provoking gawk at indiscriminate and promiscuous sex, physical obsession, and guilt. And on top of that, they mild throw in lots of palatable T&A.

The DVD from Blue Underground is a substantial capture. Not only does it reveal a widescreen restored director’s version of this genuine film–transferred primarily from the unusual negatives–but it also has lots of cold extras. It offers a feature-commentary track with director José Ramón Larraz and producer Brian Smedley-Aston that is both hilarious–due to Larraz’s frank exhaust of English colloquialisms–and informative. And there are also unique interviews with Marianne Morris and Anulka Dziubinska, the film’s exquisite stars; a lost scene recreated via production stills; U.S. and European trailers; and more. This is a part of erotic artistic cinematic history that any serious dismay fans will want to add to their collections.

A pair of bisexual women (Marianne Morris and Playboy playmate Anulka) living in a black, decaying mansion have a craving for blood and sex. Hitchiking in long shadowy cloaks, they lure men home and then catch them to bed, sever them with knives, and dump the bodies, making it view like a car smash. They like one guy so distinguished they retain him around for days and he knows something awful is happening, but he’s not clear what. Some people camping nearby also suspect that the women are up to outlandish things…. The violence is strong even though there’s more blood than gore, plenty of sex and nudity, and some very lyrical, fine scenes. The ending throws a whole fresh, darker twist on the proceedings and ties it all together nicely. It has kind of a “Hammer Films” leer to it, but the storyline is more along the lines of Jean Rollin. Even though the budget was slight, this is a quality-looking film. The DVD looks astronomical and contains a commentary track with producer Brian Smedley-Aston and director Joseph Larraz that’s worth listening to – it’s informative, and Larraz is hilarious and pulls no punches – ya gotta admire the guy, even though he admits he’s become a dirty customary man (the comment during one of Anulka’s nude scenes had me rolling on the floor) . It’s one of the most curious commentary tracks I’ve heard on a DVD, and a quality film besides.
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