Tag: cinema

The Red Shoes (1948)

This technicolour wonderland is one of the best (if not the best!) film in the history of British cinema. Directed by Michael Powell and Emeric Pressburger, It’s become known as a masterpiece and is constantly an inspiration for many artists alike and with good reason. Following Victoria Page (Moira Shearer), a ballerina who joins a troupe as the lead in the new ballet The Red Shoes. She begins to find a conflict between her professional relationship with the insufferable genius, Boris Lermontov (Anton Walbrook) and a personal romantic relationship with the troupe’s composer, Julian Craster (Marius Goring). Soon enough, the ballet of The Red Shoes begins to seep into Victoria’s reality and she is eventually broken down by the idealisations that are expected of her. This is a film that breaks the boundaries of the filmmaking experience. It’s very premise of the ballet within the reality of the film soon becomes blurred and the tone of the film changes from a basic aspirational drama to a psychological thriller. Inspired by the Hans Christian Anderson fairytale but given an original makeover by The Archers (as Powell and Pressburger were collectively known), this film delves into the dark side that fairytales ventured into which is a contrast to the Disney films that were dominating the global market. Even 70 years on, the topics in the film feel just as relevant today.

The Archers’ brilliant direction and script effectively contrast the freedom of dance with the claustrophobia and obsession with perfection. Nothing sums this film up more perfectly than Vicky and Boris’ first exchange:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, er, but I must.

Vicky: That’s my answer too.

Dancing gives Vicky the freedom that she craves but unbeknownst to her in the beginning that the freedom she “gains” from dancing for Lermontov is merely his vision. He is the puppet master pulling the strings. As Vicky grows closer to Julian and begins to finesse her own skills, she begins to resist and she finds herself no longer wanting to dance but unable to rid herself of the red shoes. The ballet sequence in which we see Vicky encapsulate her character and venture into the nightmare world of the dance is horrific. Her own emotions have merged with the character. Her dancing has become her life force. Then there’s the conflict she has between Julian who is an aspiring musician who is working for pennies and has the freedom to create the material he wants and then Lermontov who requires strict control over the whole operation. I think it is to Powell and Pressburger’s credit that they manage to succeed in creating three entirely different yet well-rounded characters who all have their motives and flaws. It’s a film that feels progressive even now and doesn’t belong to a particular time. It’s reluctance to slot into a specific genre is also reflective of this as it is a drama, thriller, horror, dance piece all in one.

I think that Shearer’s performance is one of my favourites in any film. She shines as Vicky and really brings out the talent and the grandeur of the role. Despite her privilege (we first see her sat in a private box watching the ballet), Vicky shows her natural passion and talent which impresses Lermontov who initially dismisses her because of her background. Despite Vicky’s flair for ballet, she is still an outsider as her fellow dancers clearly do not have the luxuries that she has. No scene depicts this better than when she thinks she is going to dinner and is dressed to the nines complete with a tiara, only to find the men running the ballet planning the next production in casual attire. Vicky is by no means a perfect individual either. She throws a tantrum when she is unable to keep up with Julian’s tempo during rehearsal. Vicky and Julian’s relationship develops as they realise that they are two sides of the same coin which Lermontov despises. The complexities of Lermontov’s character makes him one of my favourite “villains” film history. His obsession dehumanises those around him, none more so than prima ballerina, Irina Boronskaya (Ludmilla Tchérina) who is abandoned by Lermontov when she announces her engagement. The people around Lermontov are dehumanised puppets where his ambitions must become their ambitions. The moment there is any hint of a life outside the ballet, they are exonerated and in Lermontov’s eyes, they never even existed. His unapologetic way of life is challenged by Vicky and the climatic scene shows a crack in the façade as he breaks down onstage and forces the production to commence without her. The vision becomes empty and the audience gazes at a moving spotlight as it flutters around the stage where Vicky should be.

The music composed by Brian Easdale is nothing short of extraordinary and it effortlessly dances the line between the ballet production and the film reality until eventually both worlds merge into one. The music used in the production of The Red Shoes is spectacular with the church scene in particular remaining a highlight for me. I get chills every time I watch that segment and hear the constant bell as the lead is abandoned and left to die. Jack Cardiff’s choreography for the film is a perfect marriage for the score and the two sail on through the film and set the pace. These components are representative of Julian and Vicky’s talents and the importance of the part that they play into the film cannot be unrecognised. One of my favourite aspects of the film is Hein Heckroth‘s costumes designs. The moment when Vicky’s costume for the ballet of The Red Shoes is revealed is breathtaking and it’s one of my favourite costumes in film. Not to mention the incredible costumes that Vicky wears throughout and the clothes designed by Carven for Irina are exceptional.

My love for this film grows with every view and even thinking about it now, it’s incredible how much it has shaped my taste in film and been such a huge influence in my creativity. It’s such a beautiful film that deserves more than one watch and I think it should be on every film lover’s watch list if they haven’t already seen it. It truly deserves its masterpiece status and remains an important part of cinema history.

What do you think of The Red Shoes? Let me know in the comments below!

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Final Destination Ranking

Post author By Nicola
Post date 28 October 2019
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The franchise that was one of my first introductions to the horror genre. The Final Destination franchise is almost a passage of rite for teens and have been massively popular since the first installment dropped in 2000. The basic set-up follows a teenage protagonist and their friends on some sort of adventure or activity when the protagonist suddenly has a tragic premonition that sees their demise. The protagonist then prevents them and their friends going through with the premonition only to discover that the group starts to die violently and mysteriously one by one.

With the news that the studios have sixth and seventh installments planned for release, it made me think back on the films that helped shape my love for horror and I thought it would be a nice idea to see where they would rank.

Here are my reviews for each installment:

Final Destination (2000)

The one that started the craze. We follow recent graduate, Alex Browning (Devon Sawa) who is venturing off to Paris with his classmates. He suddenly has a graphic premonition that sees the plane explode and every passenger diminishes. Alex freaks out and is escorted off the plane along with several of his classmates. Minutes after the plane takes off, it explodes and Alex finds himself under police investigation. It doesn’t end there however as the survivors start to die one by one in violently crazy ways as death seeks its revenge. The film brings something new to the table while also paying homage to previous franchises such as the welcome cameo by Tony Todd who works as a mortician. As the film goes on, the deaths become more and more elaborate compared to his friend Tod’s demise due to strangulation to his teacher’s death sequence which saw her computer explode, followed by a knife to the chest which was pushed in by a chair. We see Alex’s descent into madness as death becomes his nemesis and he escapes to a cabin in the woods with the help of his friend Clear (Ali Larter), who believed in him from the plane accident.

Final Destination 2 (2003)

This is one of those rare franchises where the sequel is better than the original. The second installment takes the ideas from the first film and builds on them. The film follows Kimberly Corman (A. J. Cook) who has a premonition of a major road accident on a motorway that sees a huge body count. Like the previous film, she freaks out and saves herself and others only to discover that the survivors are being stalked by death. There are so many iconic sequences in this film and it’s pretty much every death. From teenager Timmy being squished by a falling window pane to the creepy ladder through eyes fiasco with young millionaire, Evan. This sequel turns up the ante and the body count. It’s gruesome and brilliant and the acting and writing is a big improvement on the first installment. It also incorporates a new theory on evading death where life can counteract death and eliminate the whole list which is an interesting twist. We also see Ali Larter return as Clear and Tony Todd reprising his cameo. I don’t care what anyone says, I have a soft spot for this film and I think the deaths are great and imaginative.

Final Destination 3 (2006)

The most famous and recognisable installment comes with the third film which features the incredible rollercoaster premonition. Starring Mary Elizabeth Winstead as Wendy in a role that would solidify her position as the 21st century “scream queen”, Final Destination 3 has an abundance of imaginative sequences that have long tortured the minds of teens alike namely the sunbed death which sees two girls trapped and burned alive by their sunbeds where the temperature has been mysteriously tampered with. If I had to rank individual performances from the whole franchise, I would probably say by Winstead is by far and large the best of the bunch. It’s a really involved performance filled with guilt and sadness. This performance is what thrusted Winstead into the spotlight where she has managed to grow into a star. It’s nice to see that happen in the modern day the same way horror made stars of Jamie Lee Curtis (Halloween) and Patricia Arquette (A Nightmare on Elm Street 3: Dream Warriors). It also features great support performances from Kris Lemche and Alexz Johnson as goth couple Ian and Erin who aren’t fazed by the concept of being chased by death.

The Final Destination (2009)

By far the worst installment, The Final Destination is a film that underestimated its audience and provides a film that is neither fun or memorable. The premonition takes place at a race track where a tyre flies off a speeding car and hell breaks loose. They shot this with 3D in mind and it shows. The studio was more bothered about making sure random objects and body parts are flying at you so much that they forgot to include any creativity in the process. It’s not a franchise known for its deep characterisations (nor do we expect it to be) but none of the characters are particularly likeable and they are all one note. The death sequences are predictable and elongated with some lasting way longer than necessary (the organs in the swimming pool drain being a prime example) and it soon becomes a tedious experience to watch. In a totally bizarre twist, this installment is by far the highest grossing in the series so far so Thankfully, the studios veered away from this aspect in the fifth installment.

Final Destination 5 (2011)

The fifth and latest installment of the franchise looks back to the original for inspiration and becomes more old school. After the critical failure of the fourth film, the studios reflected on what went wrong and made what is the “best” installment in the franchise. The script is actually tight and the characters are well-developed compared to the other films. The opening disaster is a road accident which sees a bridge collapse while a group of colleagues are on their way to a work retreat. It’s a simpler set-up than previous installments but the effects are brilliant and the deaths are just as gory. Like the fourth film, this was also released in 3D but it didn’t feel as though they were just catering for 3D and the use of it was interesting and minimal. It didn’t need the 3D to succeed but it did amplify the experience in the cinema. Following Sam Lawton (Nicholas D’Agosto) who has the premonition and the usual set-up of rescuing his friends. This installment has an array of theories and twists that are not overthought or complicated and works brilliantly as a franchise installment and also a standalone.

With all of this said and done, I am even more excited for the new installments to be released. I think that the Final Destination idea is really interesting and they’re great fun to watch. I’ll definitely be front and centre on release day with a box of popcorn in hand.

I think it’s a credit to the writers for the franchise that all but one of the sequels managed to surpass the original and even the film that is deemed the worst was the one that made the most at the box office. There is a huge audience for these films and it’s a shame that there’s been such a big gap between the last installment and now.

Here is my final ranking:

1) Final Destination 2 (2003)

2) Final Destination 5 (2011)

3) Final Destination 3 (2006)

4) Final Destination (2000)

5) The Final Destination (2009)

What do you think of the ranking? Do you agree or disagree? Let me know in the comments below!

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Nosferatu the Vampyre (1979)

Post author By Nicola
Post date 21 October 2019
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The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

What do you think of Nosferatu the Vampyre? Let me know in the comments below!

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Top 5 Daniel Day-Lewis Performances

Post author By Nicola
Post date 7 October 2019
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When it comes to listing the greatest actors in history, it would be pretty arrogant to not throw Daniel Day-Lewis’ name into the mix. The man puts the method in method acting and is renowned for his ability to truly become his characters. His refusal to break character offscreen or follow the typical hollywood lifestyle brings a sense of mystique to this genius who clearly has a passion for acting. Famously selective about his roles from early on in his career, he may not have the most extensive filmography but what is there is only the best and is full of brilliant collaborations with the best actors and directors.

He is the only actor to have won the Best Leading Actor Oscar three times and remains a titan in acting, even if he has retired (he has “retired” before and returned so who knows if this retirement will stick). Day-Lewis is in a league of his own when it comes to actors working today (the closest would probably be Joaquin Phoenix or Gary Oldman).

It’s been hard to pick top 5 but I have managed to do so. Here is my list of top 5 performances in chronological:

My Beautiful Laundrette (1985)

This early entry in Day-Lewis’ filmography is perhaps one of his most controversial. Made in 1985, Day-Lewis portrays Johnny Burfoot, a white Londoner who embarks on a romantic relationship with Omar Ali (Gordon Warnecke) who is struggling with his identity as a British-born gay man of Pakistani descent in volatile, racist Britain. The eeriness of this film comes in how relevant it feels today 35 years on. Stephen Frears refusing to bow to stereotype in this film, creating characters that are rounded and break the mould. In a general landscape that isolated homosexuals, My Beautiful Laundrette shows a relationship filled with adventure and excitement. The chemistry between the two leads is magnetic and it’s great to see a film about a gay couple that has a happy ending, something that is notoriously refused in the majority of mainstream LGBT+ cinema.

My Left Foot (1989)

The one that propelled Day-Lewis to stardom. Portraying disabled artist Christy Brown, Day-Lewis went full method for the role and refused to break character offscreen to channel the struggle of Brown’s experience with cerebral palsy. It brought Day-Lewis a global audience and his first Academy Award nomination and win. Christy is mischievous and hilarious, aiming to live his life to the fullest. A supporting cast led by Fiona Shaw who plaus Dr. EIleen Cole, Christy’s carer and Brenda Fricker as Bridget Fagan brown, Christy’s mother (who also won a Supporting ACtress Oscar for her performance) brings an authneticity to this low-budget Irish production. The film relies on the performance of its actors and refuses to use any Hollywood flares or special effects. This is a great introduction into the career of Daniel Day-Lewis and shows how capable and fearless he was from early in his career as well as providing an insight into what will become a flourishing and groundbreaking filmography.

Gangs of New York (2002)

The film that paired Day-Lewis up with Martin Scorsese for an epic that explores the conflict between Irish and Italian Americans. Based on a true story, it’s a film that explores what it takes to be a “true” American. In this nativist vs. immigrant plot, Day-Lewis plays William “Bill the Butcher” Cutting, a cruel leader of the nativist gang who refuse to allow the Irish settlers ownership on American land. Leonardo DiCaprio plays Amstardam whose father Vallon (Liam Neeson) dies at the hands of Bill in the opening scene and seeks his revenge years later under his new alias. The film itself falls short of its potential due to its odd pacing and the overall scope of the film feeling too big for its three hour running time but Day-Lewis’ performance elevates it and makes it worth the watch. Bill is maniacal and devious with no redeeming quality but he is also extremely charismatic. It’s flamboyant and subtle at the same time. Only Day-Lewis could pull the performance off in this way.

There Will Be Blood (2007)

The role to end all roles. The character of Daniel Plainview is nothing short of iconic. Day-Lewis is on fire in this role as a greedy prospector who soughts to purchase land that sits on oil. The film deservedly won him his second Best Actor Academy Award and for good reason. It’s a brilliant performance that shows the true greed of mankind and how much they are willing to destroy in order to gain more power. This film marks his first collaboration with Paul Thomas Anderson and serves as a definite high point for both of their careers. They are a duo who click together so well with Anderson’s penchant for brilliant character development and Day-Lewis’ commitment to character is unlike any other. It’s the movie that gave us “I drink your milkshake” in what can only be described as one of the best film endings. Add Paul Dano to the supporting cast and you have one of the best combinations of a director/writer and cast seen in 21st century film.

Phantom Thread (2017)

Day-Lewis’ “final” role sees him reunite with Paul Thomas Anderson as a renowned couturier, Reynolds Woodcock, inspired by a culimation of designers including Charles James. He’s a man with an inpenetrable exterior that is soon challenged by a chance encounter with waitress, Alma (Vicky Krieps) who becomes his muse when his creativity wanes. They spark a professional and romantic relationship and his business starts booming again as Reynolds finds his inspiration to design. Always watched over by his eagle-eyed sister, Cyril (Lesley Manville), we see the highs and lows of Reynolds’ career and the challenges he faces when the sparks begin to fade. The character contrasts greatly with the previous Anderson outing. Reynolds is a more subdued character who can say just as much with a simple grimace or flourish of the hand in the same way that Daniel Plainview used his persuasive chat to manipulate. Day-Lewis was deservedly nominated for the major awards in what is a beautiful swansong to a brilliant career.

As you can see, there are many brilliant performances that didn’t make the list, in particular In The Name of the Father (1993) and Lincoln (2012), the latter of which won him his third Best Actor gong. It’s always difficult choosing my favourite performances but how do you do it when pretty much every performance is perfect? There really is no wrong answer when it comes to Daniel Day-Lewis as it is likely that you will feel impacted by his performances.

Which film is your favourite from Daniel Day-Lewis? Let me know in the comments below!

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Scanners (1981)

Another film that I watched on a whim on BFI player is one that has been on my list for years. Scanners is a sci-fi horror directed and written by David Cronenberg and follows a sub-species of humans called Scanners, people who can control others with their minds. When one Scanner, Daryl Revok (Michael Ironside), goes rogue and starts to hunt down other Scanners in order to take over the world, security system corporation Consec uses social outcast, Cameron Vale (Stephen Lack), to infiltrate the community to bring Revok down. Assisted by the allusive Dr Paul Ruth (Patrick McGoohan), Cameron must hone his powers in order to face Daryl whose powers are much stronger than the other Scanners. He teams up with the powerful Kim (Jennifer O’Neill) and they work together to bring Daryl down.

The plot itself is linear as Cameron goes from social outcast to leading the fight against Daryl. We see him come out of his shell and become stronger than the Scanners until he is strong enough to fight Daryl. The climactic scene between them is fantastic and unexpected. Relying on the actors’ physicality and strong use of gory special effects, the scene is larger than life but also extremely simple due to its setting and the focus on the actors. Cronenberg knows that he doesn’t have to go above and beyond to create an effective fight scene and therefore brings no distractions. The focus on facial expressions also adds to the intensity of the film. I personally like that the film throws you into the situation and we are introduced to the world of Scanners through Cameron’s own realisation and experience.

The most iconic scene in this film is definitely the head explosion where we first meet Daryl in which he violently kills a fellow Scanner by causing his head to explode. Very few scenes in films make me jump and this one truly did. The brilliance of the physicality of the Scanning process is highly intense and the build-up in this scene had me on edge the entire time. I also think that the character of Daryl is one of the films highlights for me. He is an interesting character who was clearly distressed and reactive to the environment around him. He is relentless in his quest for world domination, even attempting and succeeding to violently kill other Scanners in order to do so. This contrasts with Cameron who is hugely reluctant to join his cause and has no inner conflict to do so. The two Scanners are polar opposites on the sides of bad and good.

I really like the style of the film. It’s sci-fi but doesn’t feel like it due to its realistic setting. The Scanners themselves look like regular humans and the Scanning effect is very physical and relies on the actors rather than the special effects which are bring the results. The special effects are one of the strong points and are brilliantly gory. It is not a film for the faint of heart. There are exploding heads, charred bodies and plenty of guts throughout. Even the scenes that don’t have gore are full of horror as we see the affect that the Scanners have on other humans. It doesn’t feel like a horror in the traditional sense, however, because of its sci-fi aspects so it’s a film that sits in its own genre.

Cronenberg’s long time collaborator Howard Shore provides a score that really brings the film to life. The Scanning process is enhanced by Shore’s score with it’s use of futurstic sounds and abnormal tones. Being an avid fan of Peter Jackson’s The Lord of the Rings Trilogy (2001-2003), one of my favourite aspects is Shore’s revolutionary score so listening to this soundtrack made me realise what a great talent he is. He captures the tone and unease of the film perfectly that it seems that the film is shaped by the score at times, particularly those intense scenes when the Scanning is reaching the climactic point.

Overall, Scanners is a film that brings special effects in abundance but also asks a lot of its actors and the result is a great film that revolutionised the horror genre. It’s a film that showcases Cronenberg’s brilliant mind and imagination and his reluctance to follow trends and put himself in a box.

What do you think of Scanners? Let me know in the comments below!

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Lips of Blood (1975)

I came across this film by chance on BFI player and without knowing anything about it or the director, thought I’d give it a watch (which I rarely do truth be told). Made by horror director Jean Rollin, it follows Frédéric (Jean-Loup Philippe), a 30-something man who is haunted by a childhood memory that is triggered when he gazes at a photograph of a château while at a perfume launch. The memory is immediately shown in which he encounters a young woman, Jennifer (Annie Belle, credited as Annie Briand), in the doorway of the château. His mother was always adamant that he imagined the woman but when the woman starts to appear to him, he knows that the only way he can figure out the mystery is by facing his childhood demons. Released in its native France as Lèvres de Sang, Lips of Blood is a film that provides violence, blood and sex where the vampires walk around in sheer dresses that billow in the wind.

The screenplay written by Rollin and Philippe is tight and compact making the pace of the film nice and fast. I found that this added to the suspense of the film, however, as we see Frédéric’s descent into madness and despair in his search for Jennifer. This contrasts with Rollin’s direction which tends to linger at points with brilliant use of close-ups and scenery, allowing the audience to become immersed in the location. It makes the film an entirely sensory experience which is elevated by Jennifer’s speech towards the end of the film where she explains that her spirit has wandered the landscape without leaving. There are also some questionable choices that Rollin brings to the film, the main scene being one where Frédéric locates the woman who photographed the château who we see photograph another woman who is fully naked and masturbating in front of the camera. It’s a scene that is entirely gratuitous and does not enhance the plot in any way but is clearly reflective of Rollin’s experience as a pornographic director. Again, the costume designs for the four vampires (particularly the two dressed in sheer sheets) screams sex. It’s bizarre to watch because these vampires are walking around public streets absolutely naked and it seems that no one bats an eyelid or even questions this.

Philippe’s performance as Frédéric brings a mix confusion and distrust as each situation proves even more bizarre than the last. He doesn’t stop to question anything and instead pushes on with his mission. Frédéric’s acceptance of the situation allows the audience to become invested in the plot with no doubt. There’s a huge shift as Frédéric is torn between his God-fearing mother and the demonic vampires in the final act. This is the moment when it seems to come to a stand still as physically and mentally, Frédéric has pressed forward without thinking for much of the film. His one fixation appears to Jennifer throughout but it is only his mother who has the ability to stop him. On the other hand, there is Jennifer who is played beautifully by Annie Belle who subverts the traditional vampire trope and makes the character ethereal and (ironically) angel-like. Rollin allows the costumes to also speak for the characters with Jennifer dressed in shades of white and off-white with various textures and layers to illuminate that not all is as it seems contrasted with the single sheered material that the other vampires wear demonstrating a freedom and fearlessness.

It’s a film that I would be interested in watching again to see what else I could take from this film. This time around I really took in the use of location, costume and the cinematography but I could see the huge amount of detail given in the props in the background. I think that there is more to this film that meets the eye, particularly with the characters of Jennifer and La Mère de Frédéric (Nathalie Perrey). On researching this film on the internet, it seems that it is a fairly unnoticed film overall so I’d be interested in watching more Jean Rollin films (the horror ones that is!) and seeing how this one fits into that collection.

Have you seen this film? Let me know your thoughts in the comments below!