.jpg "THE VAMPIRE LOVERS (1970)") |
| THE VAMPIRE LOVERS (1970) |
Who?
Director: Roy Ward Baker
Producers: Harry Fine & Michael Style
Screenplay: Tudor Gates
Cast: Ingrid Pitt, Pippa Steele, Peter Cushing, George Cole, Kate O'Mara, Ferdy Mayne, Douglas Wilmer, Madeline Smith, Dawn Addams, Jon Finch, Harvey Hall, John Forbes-Robertson, Kirsten Betts, Charles Farrell, Janet Key, Shelagh Wilcocks
How?
In 1969 producer Harry Fine conceived the idea of adapting Sheridan Le Fanu's vampire story Carmilla for the screen - in particular emphasising the implicit lesbianism within it. He suggested his partner in Fantale Films Tudor Gates write a story line, and with it they and third partner Michael Styles approached Hammer's James Carreras. Carreras was enthusiastic and a deal was struck, with American AIP being persuaded to finance - attracted it appears by the explicit lesbianism of Gates' story, although they would later have second thoughts. Carreras brought in Ingrid Pitt to lead, who was known from Where Eagles Dare, along with a strong supporting cast of Brtitish actors. Roy Ward Baker was hired to direct, having previously directed three times for Hammer, in particular Quatermass and the Pit. AIP's demand for a star name led to Peter Cushing's involvement. Shooting began at Elstree Studios in 1970 despite ongoing wrangling over the screenplay with both AIP and the British censors.
What?
Baron von Hartog (Wilmer) waits in the mist-shrouded ruins of Karnstein castle, having avenged the death of his family from the Karnstein vampirism. A dreamlike female vampire soon arises and Hartog almost succumbs to her charms, recovering himself sufficiently to swiftly decapitate her. Forward in time we encounter young 'Mircilla' and her mother, Mircilla being left in the care of General von Spielsdorf (Cushing) and his daughter Laura (Steele) when her mother is suddenly called away. Mircilla quickly befriends Laura, who soon shows signs of sickness, suffering horrific nightmares and growing steadily weaker until she eventually dies. 'Mircilla' disappears, only to appear again as 'Carmilla' when her mother again leaves her with a family, Mr Morton (Cole) and his daughter Emma (Smith). When Morton has to leave, Carmilla and Emma grow closer, Carmilla eventually seducing her while also feeding on her. As Carmilla is torn between love and hunger, and Emma grows steadily weaker, can the governess, the butler and the doctor prevent her death, or will they too succumb to Carmilla? Meanwhile, Laura's father and fiance are out for revenge...and a mysterious man in black looks on...
So?
Those viewing The Vampire Lovers expecting to see a piece of pure exploitation cinema will, no doubt, be disappointed. That's not to say Lovers doesn't have its fair share of sex and violence, but it is also much more. No doubt Hammer and AIP backed it based on its lesbian theme, hoping to cash in on a general loosening of censorship and to tap in to the mood of the times. And without doubt writer Tudor Gates plays up the theme in his screenplay - indeed, even with revisions, he went further than AIP were expecting and the film was to mark the end of their relationship with Hammer. The British censors also reacted strongly to aspects of the screenplay and urged Hammer to tone it down. But it would be a mistake to judge Lovers purely on these grounds - its 'sex' scenes are tame by today's standards. Where Lovers retains its power is in its pure eroticism - the film is suffused with it, thanks mainly to the presence of Ingrid Pitt. Her portrayal of the conflicted Carmilla veers between the monstrous and the pitiful and throughout she exudes an animal-like presence as she stalks the confused, doe-eyed Madeline Smith both for food and love (and indeed when she hunts the doctor through the woods). Kate O'Mara only adds to the mix as she falls under Carmilla's spell.
Much of the film is thus carried on this wave of barely-stifled eroticism, and the plot (such as it is) is thin. But Gates created some truly memorable characters and some wonderful set pieces, such as the spookily effective, dreamlike opening with its explosively violent conclusion. Kirsten Betts' small but significant role here has resulted in one of the iconic images for the film. From that opening Gates tones it down considerably, building tension again slowly, leaving you hanging there until the next explosive release - all building toward the finale as we return to that ruined castle for the final confrontation, an echo of the opening. Gates thus crafted a simple but effective screenplay that director Roy Ward Baker makes the most of. Baker's was a sure hand and he guides the film effectively - a lesser director would no doubt have played up the movie for cheap thrills. Baker, however, crafted a wonderfully atmospheric picture, verging at times on the surreal in its dreamlike Gothic quality, and never allowing it to become purely salacious. Moray Grant's lovingly lingering cinematography aids enormously in this process, and his crew produced some effective set-pieces - the decapitations, Carmilla's vanishing, the animal nightmares. Of course, Hammer regular Bernard Robinson was a master in set design and his crumbling Karnstein castle stands as a testament to his work - this was to be his last picture.
Credit must be given to to the strong supporting cast, who orbit around Pitt's character. Cushing, while absent for much of the film, is on fine form when returning for the final confrontation. O'Mara's governess and Hall's butler provide an effective double-act as they circle one another warily, and Wilmer's weary but single-minded vampire killer Baron Hartog is memorable. Where the film perhaps falls down is John Forbes-Robertson's 'Man in Black', a mysterious character who pops up occasionally salaciously observing the goings-on. Originally intended to have a fuller role his appearances now are puzzling, but perhaps add to the surreal nature of the piece. Along with his scenes, others were to be trimmed at the behest of the British censors in what was quite a struggle as they coped with how best to implement new forthcoming censorship guidelines. The final film, however, can stand as evidence that Hammer entered the 1970s strongly, retaining the Gothicism for which it was known while adding a new sexuality and violence that had been restricted to it previously. In the hands of Gates and Baker this new cocktail was to prove highly effective. Sadly, Lovers' sequel, Lust for a Vampire, failed to do likewise.
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