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Uneven pacing and some bad acting detract from The Velvet Vampire's bizarre and dreamy tone as a modern vampire lures a young married couple to her isolated desert home for a weekend of debauchery and neck biting.

Thematically very similar to the better Daughters of Darkness, but there's a lot of new stuff here. For one, the titular vampire has no problems with sunlight or mirrors. For all we know she might not even be a real vampire and could just be some insane woman.

There's not a lot of narrative drive in the film, so if you're someone more interested in plot driven horror films, you might want to think twice before giving this one a spin. If you like slower, more dreamlike films, you'll like it a lot.

A vampire in the middle of the desert? That is just what is the subject of this somewhat forgotten, semi-erotic tale made in the only decade one would make a movie about a female vampire with inclinations toward both sexes: the seventies! Now before I get too far, let me say that this film is unique in several ways. It has as its vampire a vampire that defies almost all of the traditional myths about vampires. This one, named Diane, can go about freely in the sun. She can see her reflection in the mirror. She sleeps in a luxuriously large bed(all the more room to entertain her guests). She does feed on blood. She is reputed to be over a century old.. She has a deathly aversion to the Crucifix. What does all this mean? I really don't know, but I am of the opinion that the director and writer were portraying a real vampire rather than a mental vampire(one that believes herself to be a vampire). Diane, played deliciously by Celeste Yarnell, meets a guy and his wife while at a club in Los Angelos. They are invited to her house in the middle of nowhere in the Mojave Desert. Once there, we see Diane and company explore a mine shaft, visit a ghost town, have sexual relations in three different pairings, ride on a dune buggy, and see Diane suck the venom out of a bikini-clad Sherry Miles's leg. This is a strange film not always sure where it is going, but it does lots of things fairly nicely. The acting is pretty good. Yarnell, aside from being beautiful, gives a good performance despite the flaws she inherited with a script fraught with problems. The script keeps cohesive though never explains anything really and tries way too hard at the end. The sex scenes are really quite tame by today's standards. I liked the guitar score throughout much of the film. Though I believe the movie tried to heap much on its being seen as a risqué film in its favor, the film is much more than that. It is far from great, but it is definitely worth a look.

At first, this looks to be another of the "erotic vampire" movies that were so popular in the 1970's, especially in Europe. But this American movie is actually quite different from Hammer's "Carnstein trilogy", the Rollins and Franco vampire films, and other European cult classics like "Vampyres" and "Daughters of Darkness". It doesn't really have the lesbian vampire angle that was often the bane of many of the European films. It's more of a love triangle with a free-spirited hippie couple (Michael Blodgett and Sherry Miles) finding their swinging lifestyle tested by a mysterious and very seductive woman (Celeste Yanell). There is one incredible polymorphously perverse scene where Yanell sucks snake venom out of the Miles's leg, and there are several heterosexual scenes between Blodgett and each of the women (usually while the other is secretly watching), but the plot is never completely overwhelmed with softcore groping,lesbian or otherwise.

The movie also has a very unusual (and very American)setting. It takes place in the Mojave desert near an abandoned mine and an old graveyard (where there are hints of cannibalism and necrophilia). It is atrociously acted (with Miles being the worst offender), but surprisingly well photographed, really making the most of its non-traditional horror setting. The vampire herself is also quite non-traditional. She has a reflection, is not overly adverse to sunlight, and may not really even be a vampire but instead someone suffering from insanity or a rare blood disease a la "Martin" or "Mary, Mary, Bloody Mary".

This movie may not quite compare some of the European vampire classics of its time, but it's better than some (Franco's "Female Vampire", for instance),and it's miles ahead of recent, derivative crap like "An Erotic Vampire in Paris". I'd rank it among the more interesting American vampire films of the period such as "Count Yorga" and "Lemora, Lady Dracula".

Throughout his career, Roger Corman has been known for his economical film making. No other producer/director can come close to his record of successful low-budgeted films. In the 1970s, Corman added something more to his films....boobies. His films never were high art but now they were often spiced up with sex--and "The Velvet Vampires" is exactly what I expected. Yep, a low budget with small-time actors and ample boobs. And, since it's a vampire film starring a hot female creature, you know that the boob quotient will be a lot higher than normal! While "The Velvet Vampire" is a very sexy film (and it might even be seen as soft-core porn by many), it is a bad film when it comes to some of the acting. In particular, Sherry Miles. I rarely point out a particular actor or actress, she was just terrible. While it's obvious why she was chosen (she got naked a lot and looked terrific), she couldn't act. She came off as whiny and annoying--and definitely NOT an actress. While the rest were okay, they were often hampered with horrid dialog---especially with the VERY silly and suggestive dinner scene. Overall, not worth seeing unless you want to see a lot of skin. As for the rest of the film, it's just silly. And, why is it that the vampire sure doesn't act like a vampire--such as going out during the daytime?!

If you get a chance, trying reading Celeste Yarnall's bio on IMDb. I have nothing against the actress--she could act though had a habit of starring in bad films (such as ones made in the Philippines). But whoever wrote it was either VERY creepy or a family member, as they seemed obsessed and the language was a bit odd to say the least.

Nicely done vampire tale, an early effort for Roger Corman's New World Pictures, breaks from convention in some ways and gives it a refreshingly different environment in which to play out: the California desert.

Super sexy Celeste Yarnall is the enigmatic Diane, a desert dweller who invites young couple Lee (Michael Blodgett, "Beyond the Valley of the Dolls") and Susan (Sherry Miles, 'Hee Haw') to her isolated mansion.

Co-writer / director Stephanie Rothman, the woman behind such other drive-in gems as "The Working Girls" and "Terminal Island", incorporates elements such as eroticism, voyeurism, and mysticism into this often artfully done, dreamlike horror film with palpable desert atmosphere, excellent music, and impressive sun baked cinematography by Daniel Lacambre. The dream sequences are especially enjoyable, even more so when we learn Lee and Susan are having almost the same dreams in unison. Susan often comes off as too whiny and insecure, although one couldn't blame her too much for the latter when they see just how powerfully attracted Lee is to Diane. In fact, both Lee and Susan end up rather intrigued by their cagey and alluring hostess, just not at the same time.

The isolated setting ensures that escape is, while definitely not impossible, certain to be a daunting task. The sequences in the cemetery, as well as those aforementioned dream sequences, are the best in the movie. Restrained use of violence helps to make the bloodier parts that much punchier when they do occur, and in general the use of colour is quite striking. Blodgett and Miles are okay as the couple, but this is definitely Yarnall's show, and she makes the most of her role; both she and Miles show off an appreciable amount of skin. Supporting players Gene Shane, as Carl, and Jerry Daniels, as Juan, are decent as well, with familiar character players Sandy Ward, as Amos the service station attendant, and Robert Tessier - playing a biker, naturally - making appearances as well.

"The Velvet Vampire" is a good little movie for discerning vampire movie lovers to check out, as it continues to remain an overlooked item.

Seven out of 10.

The Velvet Vampire really could have been a good film; the plot is there, but the execution is really bad and serves only in making the film really boring for most of the duration. Things pick up a little for the final twenty minutes; but by then it's far too late. The film focuses on a young couple, Lee and Susan, who meet an older woman named Diane and agree to spend a few days with her at her place. However, Diane turns out to be more than what she initially seems when she at first tries to start an affair with both people; and eventually reveals herself as a vampire. The film really features very little vampire action, and it's a travesty that the word was featured in the title. The main bulk of the film concerns the interaction between the three central characters, and we end up with a sort of love triangle; although this is very dull indeed and most of it feels like padding - in particular the supposed-to-be trippy dream sequences that go nowhere. As previously mentioned, things do pick up a little in the final third when it is finally revealed that Diane is a vampire and what follows is really rather good; but not good enough to save the entire film. The Velvet Vampire is a rare film, and I'm confident that it will stay that way as there's no good reason to track this one down.

Considered to be a cult horror classic, THE VELVET VAMPIRE is a real gimmick at expressing this, and isn't much of one. Hammer Studios, notorious for British cult movie addicts, developed a new style of their own with female vampire movies, circa 1970. It appeared as though New World Pictures tried to duplicate their thoughtful ideas with this tale of a dark-haired beauty luring victims into her passionate traps. That explains it! Just get a lovely broad who can drive a dune buggy, use the familiar old "Dracula" approach, update the setting to "contemporary" form, and you have this, a rip-off of what we, as die-hard horror fanatics, have seen thousands of times before. There aren't a whole lot of horrifying chills, but it easily makes up for the erotic suspense thrills of Celeste Yarnall, the sexy seductress with an a-"lure"-ing personality. Predictable it is, until you run into one of the most ludicrous climaxes I've ever seen, which is based on the DRACULA legend! Ugh!!! Not a bad little erotic showcase, but DEF BY TEMPTATION and VAMPYRES would be better examples.

Roger Corman Protege Stephanie Rothman Managed to Direct 7 Movies in the Late 60's into the 70's. This is Considered Her Best, when "The Student Nurses" (1970) is Not.

She Sure Had an Artist-Eye. Especially for Fashion, Set-Design, and Atmosphere. A Mildly Engaging Vampire Film that Looks as "Pretty as a Picture".

But the Director's Design is a Lot More Impressive than the Exposition or Pacing.

Both are Lacking and Most Likely Hold this One Back from Becoming an Early Feminist Cult-Horror Movie.

While there is Some Blood and Gore, The Staples of the Genre aren't Handled Particularly Pointed.

But just seem to Arrive, Quickly Shock, and then Things Move On Unaffected.

Dressed and Draped in Colorful High-Fashion with Beautiful Actors and Delicious Desert Locales.

The Movie Falls Short of Excellence.

A Few Scenes of Dream-Like Dali-Esque Imagery is Interesting if Restrained.

Odd, Certainly More Good-Looking than Most Drive-In, 42nd St. Fodder of its Ilk.

For that and the Pretty Pictures it is... Worth a Watch.

Director Stephanie Rothman also co-wrote this present-day vampire tale with a female bloodsucker named Diane LeFanu putting the moves on her two guests, a bickering couple whose car broke down just outside of Diane's estate in the desert. Although the picture garnered some good reviews, New World and Roger Corman failed to promote it and the movie died a drive-in theater death. The touches of humor are certainly welcomed and the locale is interesting--as is the vampire-in-the-daylight scenario--but the characters merit little interest, even with the flashes of eroticism. * from ****

Okay, first things first, Velvet Vampire emphasizes neither Vampires, nor Velvet. This film has much more in common with that strange sub-sub-genre of 70's sexual awakening films where a person, or couple, meets an unusual and erotic woman, or man, and travels to a far off place secluded from the reality of everyday life never to return home the same again. In this case it is a couple made up of beefy bodied, effeminate-featured Lee, and his extremely awkward wife, Susan. They travel to the middle of the desert as guests of the weird, beautiful and eccentric Diane LeFanu, the Velvet Vampire. Most of the film involves the erratic far-out shenanigans of these three and slowly but surely the vampire angle builds.

While VV may not involve a lot of hissing, pointy teethed nightcrawlers - it does weave a strange entrancing spell mainly due to the sheer utter weirdness of the trio of folks at its core. These are three actors you would never normally see in a film. Coupled with a very unusual vampire location - a dessert villa - this is tale of the undead that likely has not been seen before or since. And again - it is very 70's!! For this reason alone, I highly recommend a viewing to all fans of Gothic, Vampire or Strange 70's Flicks - as it offers a slightly skewed version of each.

Invited out to a strange mansion, a married couple arrive at a strange woman's home in the desert where she shows them around the area, but when she suspects something is wrong with the host they eventually come to believe she's a vampire and tries to get away alive.

Overall, this was a decent enough if flawed genre effort. What gives this the most to like here is the nearly ethereal approach to the main vampire this takes. The whole ruse about getting them out to the desert mansion and then baiting them against each other with her secret lustful looks, spying on the couple in bed from her hidden chamber behind the mirror, the straight seduction scenes on the husband, or the visions shot through the slow-motion style which is all incredibly enjoyable. This here makes the trip feel more suspenseful the longer they stay knowing what the end game here eventually leads to. That becomes quite fun as the film goes along as the gradual realization of what's happening is brought out. While the looks and remarks she gives hint at the seduction, the oblivious nature of her vampiric tendencies offers a lot of great scenes featuring her attacking and killing others to feed on their blood. This even makes the finale quite fun as the seduction tactics are revealed for some unexpected targets signaling some shocking revelations that take place, and when combined with the closing epitaph and nicely done sleaze in the seduction scenes has a lot to like about it. There are some issues with this one. One of the biggest factors here is the lagging storyline that tends to switch into numerous plot points whenever it's convenient to do so. The couple goes from hating each other to loving depending on the nature of the scene, the ruse to keep them there is wildly inconsistent and plots are dropped at random intervals merely because it sees fit to do so, almost as if it were all made up on the spot. This also explains the inconsistent vampire lore, being out in the daylight, and other factors that ignored tropes for no reason which all brings this one down.

Rated R: Nudity, Violence, Language, and sexual scenes.

With the Womens Lib movement in full dudgeon in the early 1970s, a few horror movies reflected this revolutionary turn-of-events with varying degrees of success. By far the best was the ravishing Dutch thriller "Daughters of Darkness," with Delphine Seyrig's hypnotic portrayal of a bisexual, blood-thirsty modern-day vampire. But the little-known American trailblazer, Stephanie Rothman's "The Velvet Vampire," should not be overlooked. "B" actress Celeste Yarnall acquits herself beautifully as an enigmatic young temptress who lures a pair of blond, beautiful newlyweds (Michael Blodgett, from the unforgettable "Beyond the Valley of the Dolls"; and Sherry Miles, an embarrassing actress but a certifiable voluptuary) to her isolated abode in the Mojave desert, where she plans to have her way with them. Or does she? "The Velvet Vampire" runs hot and cold--at once a camp hoot, then suddenly a disturbingly erotic example of a perhaps dubious genre. But it casts a unique spell of its own, thanks to Ms. Rothman's artfully detached direction, and the audacious performances of the three leads. Truely "a guilty pleasure" for fans of it's (perhaps) dubious genre, and a haunting oddity worth checking out.

Married couple, Lee and Susan Ritter, has been invited by Diane LeFanu to stay at her desert retreat. They are soon seduced by the sexy vampire.

This is an experimental indie erotic horror. There is some artistic style here. I almost assumed it to be Italian until it got to the desert. The acting is mostly lower rate. The filmmaking is also a bit lower. It's an indie. I like the style early on in the movie but the characters aren't compelling enough. Eventually, it loses steam and it's a slow killing spree to the end.

Sleepy-eyed nice guy Lee Ritter and his vapid, but pretty wife, Susan accept the invitation of mysterious vixen Diane LeFanu to visit her in her secluded desert estate. Tensions arise when the couple, unaware at first that Diane is in reality a centuries-old vampire, realize that they are both objects of the pale temptress' seductions.

Like vampires, the movie sucks. Plain and simple. It rambles, is poorly directed and has no purpose. The script is non existent and the costuming laffable.

One of the few Roger Corman bombs.

BTW the vampires come out in the bright desert sun! Ugh

The Velvet Vampire (1971) is a movie I recently watched on Shudder. The storyline follows a young couple who take an adventure to an Arizona estate and meet a vampire named Diane. Diane shows them a wild lifestyle of sex and ecstasy...and it will only cost them their life as they know it. Will they become vampires like Diane or try to escape into the desert?

This movie is directed by Stephanie Rothman (Blood Bath) and stars Michael Blodgett (Beyond the Valley of the Dolls), Sherry E. DeBoer (Making It) and Celeste Yarnall (Fatal Beauty).

This is a classic 70s movie with great cars and soundtrack. The sex scenes were very weird in how they were filmed and delivered. The women are smoking hot and the corpses are well done. The horror scenes are limited till the bus stop scene then the movie takes off. Everything after the bus boarding sequence is fantastic and the movie does have a worthwhile conclusion.

Overall this is an above average addition to the horror genre that's definitely worthy a viewing. I would score this a solid 6.5/10 and recommend watching it once.

Young married Michael Blodgett and Sherry E. DeBoer meet Celeste Yarnell at an art exhibit. She invites them out to her desert home. They accept, not knowing she's a vampire.

It's a tired variation on vampire movies that relies on moments of shock for any impact, because most of the actors are pretty bad. Oh, Miss Yarnell is all right, and she knows how to move for the camera, but the other two leads are not very interesting. Miss DeBoer has to play her character as a moron to make it look believable.

The real problem is the vampire genre by this point. There's nothing new to say, nothing new to show, and the result is that I was more horrified about people walking around the desert without a hat than Miss Yarnell's feeding habits.

This story begins with "Lee Ritter" (Michael Blodgett) and his wife "Susan" (Sherry E. DeBoer) meeting a woman named "Diane LeFanu" (Celeste Yarnall) at a nightclub and then accept her invitation to visit her house in the desert over the weekend. When they get there Susan becomes somewhat jealous of Diane due to Lee's increasing attraction to her. Yet the longer they stay the more reluctant Susan becomes to leave. Likewise, even though both of them are having strange dreams and observe strange events neither of them are able (or perhaps willing) to put all of the pieces of the puzzle together. Now rather than reveal any more of this movie and risk spoiling it for those who haven't seen it I will just say that this film resembled a late-60's, low-budget, counter-culture movie at times which, when combined with the poor acting on the part of Sherry E. DeBoer, caused the movie to seem really cheap and trashy. Additionally, the film also had an uneven quality to it as well. In any case, I rate the film as below average and recommend it only to those who enjoy movies of this type from this particular era.

If you love a movie that makes you laugh but isn't supposed to -- or is it? -- then this one's worth watching. No, it's not good; and I do mean not good. But yes, its ridiculousness is exactly enough to elevate it to a fun time.

Honestly, it feels like a porno minus the graphic sex. There are exposed breasts of the female leads and the buttocks of the male lead, but that's where it stops. However, I couldn't help but wonder what John Waters could have done with this stinker or how much more of a cult classic it could have been if made as an outright, graphic porno flick.

Caught this on Turner Classic Movies. Gotta love TCM Underground. Their programming is top notch if you're looking for the cooky stuff.

What an embarrassing mess. I gave it three stars, just to be kind. That's where my kindness toward this film ends.

I have to believe that Roger Corman was so inspired after watching El Topo, that he instructed director/protege Stephanie Rothman to "throw in as much Jodorowsky as possible!". There are numerous scenes featuring poorly executed attempts at the surreal and each and every one of them falls flat. The rest of the film is just goofy, standard, early 70s vampire vixen fare. And a VERY dull version, at that.

Regarding the "acting" (*snicker*), it seems as if each scene was filmed with actors who were on set by themselves and had no idea to whom they were supposed to be speaking. The dialogue was that detached. Combine this with the fact that the actors themselves seemed to have only mastered the valued technique of speaking in a stilted, emotionless fashion. Jodorowsky could have at least done something with them. Sadly, Stephanie Rothman was not up to the task.