Der Fluch der schwarzen Schwestern

Der Flutch der Schwarzen Schwestern (called by it's UK release title The Devil's Plaything, on my copy)is an experiment in eroto horror that never really takes off.

What plot there is to be had involves the spirit of a vampiric baroness whom has been kept alive by her cult of attendants, so as to possess the body of a young woman and be reborn. Once resurrected, she can continue her bloodlust eternally, provided she drinks the blood of the descendants of her executioners.

The stilted dialogue and even worse acting make the storyline damned hard to follow (worsened by a very poor audio mix and no subtitles).

It's pretty evident the plot is a wash about 15 minutes in, and had there been enough half clothed starlets, all would've been forgiven.

Instead there's random cut scenes of naked girls dancing to bongos(while wearing body paint reminiscent of extras from Laugh In), lots of spell induced heavy breathing in sheer nighties(resembling those shampoo as orgasm Herbal Essences commercials) and a weird incest subplot, with the girls being fairly below par overall (The castle's housekeeper/leader of the cult is probably the worst of the lot, looking like a man in drag in most camera angles) This movie is fence sitting between the two genres, and it's lack of commitment to either is what makes it a lot less interesting than it could've been. There's too little plot to be scary (having actors look about aimlessly is not an effective suspense building tool) and too little quality skin to be sexy.

3 stars. (1 for genuine castle setting, 1 for the god awful shadow puppet special effects in the bat attack scene, 1 for an interesting but wasted premise)

Well the story is a little hard to follow the first time, but that's only because of all the bare breasted '70s painted-up vampire/witches dancing to the bongo drums. This of course interrupted by a few vampiric orgies. And there are some very interesting candles and uses for them. And for girl on girl action, vampiric or not...this movie just rocks!!!

Yet another sapphic blood cult's on the loose in an old castle as the female descendants of a sixteenth-century vampire get together to receive their sanguine inheritance. There's also a brother & sister whose car break down, a Mrs. Danvers-type housekeeper, garlic crosses, puncture wounds on the neck, and other familiar horror trope in this CARMILLA-esque yarn that's short on hetero coupling and long on lesbianism and incest. Sarno borrowed Mario Bava's colored lights as well as the plot of BLACK Sunday (more-or-less) to spotlight a castle full of T&A, mostly from a naked coven, and even has a woman getting her clothes torn off by bats. From an American director who filmed in Germany to make the very essence of Eurotrash.

"Vampire Ecstasy," ( aka "Devil's Plaything") released in 1973, is a gem in the realm of cult erotic horror cinema. This film, directed by Joseph W. Sarno, stands out for its unique blend of sensuality and the supernatural, offering an unconventional take on the vampire genre.

One of the most striking aspects of "Vampire Ecstasy" is its artistry. Sarno's direction brings an almost dreamlike quality to the film, with lush visuals and a hauntingly atmospheric soundtrack that creates an entrancing and immersive experience. The cinematography is seductive, and the use of lighting and shadows adds a mysterious allure to the story.

The film also stands out for its alluring and charismatic cast. Marianne Prevost, as Countess Nadine, delivers a captivating performance with a mesmerizing blend of sensuality and a hint of menace. She's supported by a cast that's equally engaging, bringing to life a world of decadence and desire.

What truly sets "Vampire Ecstasy" apart is its approach to the vampire mythos. It's not your typical fang-and-blood horror story. Instead, it explores the erotic and psychological elements of the vampire legend, making it a distinctive and daring entry in the genre. The film delves into themes of lust, power, and seduction, making it an exploration of human desires in a way that few vampire films do.

The pacing of the film is deliberate, allowing the audience to savor the tension and build-up of desire. It's a slow burn that immerses you in its world, making each revelation and twist all the more intriguing. The film's narrative is intricate and unpredictable, keeping you engaged from start to finish.

In conclusion, "Vampire Ecstasy" is a captivating and alluring entry into the world of erotic horror cinema. It dares to explore the darker aspects of human desire and the supernatural, wrapped in a beautifully crafted package. If you're a fan of artful and unconventional horror that pushes boundaries and challenges traditional genre conventions, this film is a must-see. It's an erotic and atmospheric journey into the realm of the undead that will leave you both fascinated and bewitched.

Joe Sarno has never quite achieved the respect or notoriety of other sex/genre directors like Jess Franco or Russ Meyer largely because he was a very workman-like director without a really distinctive style of his own. However, unlike Franco, who only made movies in Europe, or Meyer, who only made movies in America, Sarno was able to go back and forth across the Atlantic making low-budget classics like "Sin in the Suburbs" in the US and "Inga" and "Young Playthings" in Europe. Like Franco and Meyer, he definitely had an eye for pretty girls. In America he helped discover several bra popping ingénues like Uschi Digart, Marsha Jordan, and Audrey Landers while in Sweden he discovered some truly impressive beauties like Marie Lillejahl, Christine Lindberg, and the star of this picture, Maria Forse.

Forse, the only Swede in an otherwise German cast, plays a schoolgirl who is lured with her friend to a remote castle as part of some plot by a coven of witches/vampires to snare a brother and sister in order that they can resurrect the siblings' ancestor, a long dead witch (or something like that). Her friend becomes a vampire while she falls in love with the brother. Much nudity, ritualistic dancing, and softcore groping ensues. The plot really isn't that important though--this is another European film where the producers apparently had access to an old castle and some actresses willing to disrobe so they decided to make a movie. The results kind of resemble a Jean Rollins film like "Requiem for a Vampire" but less arty, or a Renato Polselli like "The Reincarnation of Isabel" but less insane. It's more a sex film than a horror film, but interestingly, judging from some of the footage in the DVD supplements, Retroseduction did not include the strongest possible cut sex-wise. This is probably just as well as this barely qualifies as horror film as it is. If you want to see a pure Sarno sex film I'd recommend either the arty but barely legal (if that) Swedish film "Inga" or the godawful American bored housewife romp "Pleasures of Woman" (which Retroseduction also recently released on DVD-- along with a shot-by-shot "remake" with their in-house silicone cyborg girls just in case you want to watch it twice). Pick your poison.

Next to the very hard-to-find "Young Playthings", this is probably Sarno's best film though--for whatever that's worth