Les Proies du vampire

A young woman (Ariadna Welter) arrives at the isolated town of Negro Sierra at the same time as a wooden crate full of Hungarian soil and a happy-go-lucky salesman (co-producer Abel Salazar) after being summoned by her uncle to the sickbed of one of her aunts. Hitching a ride with the strange man who arrives to collect the crate, the pair arrive at her family's grand hacienda to find it in a state of disrepair and her aunt already apparently dead and buried. The woman's other aunt, however, seems unchanged since the girl's visit as a child and is strangely lacking a reflection…

El Vampiro was my first taste of Mexican horror, and for some reason I was expecting some low-budget, low-talent effort. While this flick from Fernando Mendez clearly doesn't have the kind of budget enjoyed by the contemporaneous Hammer films, it certainly is the work of a decent talent. Read most of the reviews on this page and you'll find one word that keeps popping up again and again: atmosphere. This film has got it to spare with good use of light and shadow - and lashings of misty smoke - giving it a real touch of class. The film doesn't exactly gallop along, but its never dull, and overcomes the drawback of a hero who initially seems irritating but actually ends up being quite likable.

The storyline follows pretty much the same template as the Hammer flicks: virginal heroine, in danger of seduction and/or death by suave but evil vampire, is saved by dashing, heroic type (even though the hero here has a touch of the comical about him). If you're not a fan of old horror films you're not likely to be impressed by this example of the genre: by today's standards it's very tame (even though it was rated 18 on the DVD), and unlikely to scare even a ten-year old.

...and probably the best one to date.

Surprisingly creepy and atmospheric black and white Vampire movie. This looked like the Coffin Joe series at times because it has excellent settings, music, and cinematography. On the other hand, the movie has some parts that were meant to be funny but that's just Mexican typical humor that maybe some others won't understand. The direction is truly memorable, it deserves a special mention because it is very stylish and atmospheric. For example, whenever the vampire is about to attack, you can clearly see advanced camera and lightning techniques (for it's time). The way the lightning focuses on Robles' face is creepy. The events are fast paced but in a suspenseful manner.

The vampire characterization is pretty good as our main hero (or villain?) is a sui generis Mexican vampire. Germàn Robles delivers a fantastic performance based on erotism, and creepiness. Believe me, he is a unique vampire, like none other you haven't seen. Once he said that he liked how this vampire is an erotic, dark character because he appears at night, 99.9% of his victims are women that use sexy lingerie, and he likes to possess souls through their blood. His presence is creepy enough.

As one of the reviewers said, this movie obviously inspired the Hammer vampire flicks. That makes me proud as I'm Mexican and I'm a big fan of Hammer.

This movie is heavily underrated to the point that only avid Horror fans from around the world know about it; not even Mexicans seem to recall this cult Horror movie.

Please, watch this movie and you will be pleased. Recommended for Vampire Horror fans, and Horror fans of Black and White movies.

Someone at Hammer studios likely saw El Vampiro before beginning the Christopher Lee vampire movies. German Robles plays the quintessential vampire, the aristocratic, natty, sensual Count Lavud (Mr. Duval). Robles would further refine his vampire in the subsequent role as the vampire Nostradamus. In many ways this movie is like a black and white precursor to the Christopher Lee vampire films. (In fact, it predates by a year those of Lee at Hammer.) The dark threatening broody atmosphere, with its swirling fog, eerie woods, stark decaying dreary structures is similar to that of the Hammer films, some of Roger Corman's, and (of course)the earlier Universal pictures. A foreboding tension keeps the viewer on edge. Abel Salazar, the producer, does a decent job in the role of the doctor who helps the heroine, Marta, played by the beautiful Ariadna Welter, attempt to stay away from Lavud's fangs and control. Marta has returned to her ancestral home in the Sierra Negra (Black Sierra) Mountains. Her beautiful aunt, Eloisa, played by Cuban born Carmen Montejo, has not aged since Marta last saw her, having succumbed to the charm of Lavud--a fate Lavud wishes for Marta. As an earlier commentator noted, this apparently is the first screen vampire with fangs. These are put to good use in one scene with his transformation to and from a bat and then attack on a small boy, which scene is riveting. The music matches the atmosphere--foreboding. The film has rather good production values for the Mexican vampire genre (really for all vampire movies). The DVD (PAL only format) from Mundo Macabro is in Spanish (with and without English subtitles) and in dubbed English and is superior to the VHS version from I.S. Filmworks (available only in dubbed English). This film is not chatty; subtitles are easy to follow and not intrusive. Neither version is in widescreen. The DVD has somewhat better technical quality than the VHS. Shock Therapy Cinema also has released a very good copy in Spanish with English subtitles in Dolby 2.0 DVD. Technical quality is superb. Other, noncommercial DVDs, in Spanish, with and without English subtitles, and dubbed can be found. Horror Theatre Video has both the Spanish with English subtitles and the dubbed English in quite good technical quality in DVD-R. Thomas_McKeon Thomas J McKeon Indianapolis USA

I had heard a lot about this Mexican horror classic and cult film by Fernando Méndez: that it was a remarkable B&W production, that it established the vampire genre in México, that it was the first movie in which the vampire had fangs and –most of all- that it was intentionally funny in parts. I had seen its sequel, "El ataúd del vampiro" (The Vampire's Coffin) when I was 8 years old, of which I have a vague memory. Now, after 47 years of its release, I've finally seen "El vampiro" and to my surprise it is better than what I expected. Producer Abel Salazar knew what he was getting into –as probably did Luis Buñuel when he made "Abismos de pasión", adapting Emily Brontë's "Wuthering Heights"- and decided not only to approach the tale of an Hungarian vampire in México with humor, but to play the leading part of the doctor with comic touches, as a cynic and fearful hero. Beautiful Ariadne Welter (Tyrone Power's once sister-in-law, sometimes credited as Ariadna) is the young heroine who returns to her family hacienda in Sierra Negra (Black Sierra) and meets Salazar on her way, while they are followed by her aunt (Cuban soap opera superstar Carmen Montejo), a spinster under the spell of Count Duval (Germán Robles), the local vampire. The initial situation reminded me of the Hammer Films production "Kiss of the Vampire", which was made a few years later: a young woman being observed and chosen to be part of the undead, though in this case the open setting is darker and in obvious decay. What was surprising to me was the plot's twists, which seem quite original for its time and probably not yet equaled, mainly the introduction of a woman buried alive (Alicia Montoya) –whose appearance predates Myrna Fahey in Roger Corman's "The Fall of the House of Usher"- who protects the heroine and has a decidedly active part in the conclusion. Although screenwriter Ramón Obón takes many elements from Bram Stoker's classic novel, he introduces clever touches, immensely helped by Rosalío Solano's cinematography, Gustavo César Carrión's eerie score and Méndez' firm direction. As a research, it's also interesting to see another movie by Méndez, "Ladrón de cadáveres", which paved the way for a unique Mexican cross of genres: the wrestler and horror films.

I have just seen El vampiro during a Latin American Film festival held in Amsterdam and Rotterdam, where its protagonist German Robles was present as guest of honour.

El vampiro is imaginative rather than talkative and has imagery no American fifties vampire flick can match. The story, of course, is lame and predictable, and, as Latin movies go, there is a lot of supernatural hokum coming with it. The overriding presence of Robles, together with the humor and the menacing, beautiful atmosphere, make up for it.

Vampiric action is kept to a bare minimum and the man-to-bat-metamorphosis (and vice versa) challenges in no way the 1932 standard. Nevertheless, it is one of the classics of the genre.

If you want to know how a vampire lady looks when she tries very hard to look like a vampire lady - well, the film gives you ample chance. One last thing: the soundtrack, however primitive, is a revelation: good vampire music and sound effects culminate in the humorous ending, when the leading man's words are drowned by the departing train's whistle. Nearly perfect.