I vampiri

This movie is absolutely stunning! It combines Freda's knack for perverse plotting with Bava's excellent, atmospheric cinematography to produce a story about the parasitic sickness of love more than anything else. I've read a few whiny 'goth' teenagers complaining about the film's lack of 'real vampiric moments.' What idiots! An aging scientist keeps the Duchess Du Grand young, although she can't stand his touch. To acquire young women needed for his serum, he keeps a junkie locked up and strung out. Meanwhile, the Duchess is in love with Pierre, a young reporter investigating a series of mysterious murders in which young women are being drained of their blood. Ah, love... The mood of the film perfectly balances neorealism with fantasy to create an expressionist fairy tale. The antagonistic relationship between the reporter and the police investigator and the above-mentioned junkie make this an influence on the giallo as well as the revival of gothic horror in Italy. Ignore DVD (Idiot) Savant and the Ann Rice geeks. The rediscovery of this movie ranks up there with Whale's Old Dark House. It is an absolute classic, and the print is excellent!

As much as Italy is revered as a bastion of horror cinema, it wasn't always so; while there are always exceptions, the 50s weren't generally known for high quality genre fare. Entering the world on the cusp of Italy's renown, 1957's 'I vampiri' doesn't necessarily fall on the higher end of the spectrum, and if it does, then only just so. It's well made overall, including outstanding, detailed art direction, sharp and admirable cinematography, and - usually less important in the grand scheme of things, but of especial significance here - fantastic costume design, hair, and makeup. I also think that between Riccardo Freda and Mario Bava, the direction is firm and commendable. The film-making and craftsmanship is broadly superb. I am, however, a little less sold on the storytelling. I think this is enjoyable and worthwhile, but not necessarily a must-see.

We absolutely get the genre flavors we crave, with murder being adjoined by the tropes of experimentation and the mad scientist, and transformation at a great cost. The tale at large is dramatic and compelling, carrying dark airs that are accentuated in Roman Vlad's excellent score. Yet I also think the narrative feels a tad scattered, as if it lacked a wholly cohesive or unified vision; not all the parts seem to fit together. Just as much to the point, I believe there's a marked disparity between the strength and sinister grandiosity of the otherwise efforts behind the scenes - the sets, props, music, and so on - and that which the plot has to offer; the look and feel of the production portends a saga more intense, grim, and captivating than the one we get. 'I vampiri' is a splendid time, by all means, but it just doesn't strike a chord in the way it ideally should.

Maybe I'm nitpicking, though. One way or another this isn't the top of the line, but it earnestly and meaningfully explores the space it intends to, and it's entertaining. Nowhere is it written that every feature has to be perfect. For that matter, I want to like it more than I do, and I wonder if I'm not being too harsh. At the end of the day this isn't something you need to go out of your way to see, but it's certainly sufficiently fun to warrant checking out if you have the opportunity. 'I vampiri' is no exemplar, but it still stands well on its own merits, and is notable as an early entry in the career of Bava, who would go on to make a big name for himself, and as an example of Italian horror cinema before the industry really came into its own in that regard. It's a good time, and sometimes that's all a flick needs to be.

When four young women are found in Paris with the blood completely drained, the ambitious and snoopy journalist Pierre Lantin (Dario Michaelis) decides to investigate the cases of the killer known as The Vampire. Inspector Chantal (Carlo D'Angelo) does not approve Lantin´s behavior. Soon Pierre suspects that family Du Grand, who lives in an ancient castle, may be involved with the murders but Inspector Chantal does not give support to his investigations. Meanwhile Pierre avoids the harassment of Giselle du Grand (Gianna Maria Canale), who is the niece of the wealthy matriarch of the family Margherita du Grand.

"I vampire" is a great Italian horror film with a story of the search for the eternal youth. The film was directed by Riccardo Freda, who left the production that was concluded by Mario Bava (uncredited). The beauty of Gianna Maria Canale is impressive more than sixty years later. My vote is seven.

Title (Brazil): "Os Vampiros" ("The Vampires")

Paris is plagued by a murder spree. French reporter Pierre LaSalle (Dario Michaelis) is hot on the trail of what he thinks is a vampire killing off young strippers. LaSalle is also being courted to his dismay by his ex-lover, Giselle du Grand (Gianna Maria Canale - Goliath vs the Vampire), granddaughter of the mysterious Duchesse du Grand. Meanwhile, across town at the Institute of Experimental Surgery, the Duchesse is working with professor Julien du Grand (Antoine Balpêtré) to help develop artificial blood. Soon enough, reporter LaSalle gathers enough clues to confirm his crazy theory, and soon learns the truth about the Duchesse, the professor and even Giselle.

This film is the foundation of the short-lived Italian gothic horror sub-genre. Containing much of the elements of the classic American horror films of the 40s (dimly lit corridors, musty dungeons, mad doctors, rotting skeletons etc), this atmospheric production didn't do well in Italy. Only years later, after the success of the Hammer Studios (England) gothic horror revival, was this movie rediscovered and appreciated for what it was. Director of photography Mario Bava (Black Sunday, Lisa and the Devil) gives a great look to this Elisabeth Bathory-inspired tale, using low angle shots and highly contrasted lighting. Bava also took over direction when Freda left the set halfway through production. Look for a young Paul Müller (Nightmare Castle, Bram Stoker's Count Dracula) as the hired killer.

This is notable for being the first Italian horror film, thus spearheading a rich Gothic vein which ran well into the 1970s (one of three strands of horror which emerged simultaneously – the others being the so-called "Mexi-Horror" and Britain's Hammer brand-name). Curiously enough, I had never heard of the film when it turned up on late-night Italian TV some years ago but loved it immediately and, having erased the tape, I'd been pondering the idea of picking up the Image DVD ever since its release – but, only now, with Anchor Bay's recent issue of THE MARIO BAVA COLLECTION VOL. 1 Box Set did I determine to spring for it! Rewatching I VAMPIRI now and, having in the meantime amassed quite a few titles made in this style, I can safely say that it was a tremendous start to the subgenre and remains one of its finest examples.

Due to a dispute with the producers, Freda left the project after 10 days' shooting; Bava eventually completed the film and, during the remaining 2 day's work, reportedly made considerable changes to its plot structure (which should have allotted him a co-director credit – a similar situation subsequently arose during the making of the horror/sci-fi CALTIKI, THE IMMORTAL MONSTER [1959]). Bava's cinematography lends the film a real class – transcending its obvious low-budget and tight schedule – with any number of sweeping camera moves (to take advantage of the Cinemascope format) and incredible lighting effects. Besides, the transformation of the villainess from a beautiful woman into an old hag are masterfully accomplished in-camera through the use of filters (pretty much in the style of DR. JEKYLL AND MR. HYDE [1931]). The sets, especially the elaborate castle interior, are suitably impressive; Roman Vlad's powerful score may have been re-used in later films, as it felt oddly familiar to me.

The script does seem to naively approach the new genre by piling on typical elements from the American horror films, such as the mad scientist and his sinister-looking 'zombie' acolyte. However, there's no real vampire at work here – but rather rejuvenation by blood transfusion; perhaps, it was thought that the traditional bloodsucker would seem incongruous – or, worse, laughable – amidst a modern-day Parisian backdrop, but this clash of settings actually works very nicely (and may well have influenced EYES WITHOUT A FACE [1959] which, in its way, proved even more seminal to the horror genre). Besides, we get an unusual emphasis on the antagonistic rapport between the reporter hero and the police inspector in charge of the crime spree; following a splendid climax, the latter provides a long-winded last-minute explanation for the benefit of the viewer – which, basically, became a fixture of Italian horror/thriller efforts.

It's also interesting that the hero, ultimately, establishes the source of evil as being much closer to home than he could ever have imagined; in fact, he represents the object of desire for wicked noblewoman Gianna Maria Canale (probably cast because she was Freda's lover at the time, but there's no denying that her classical looks and natural sophistication are perfect for the role). Still, even if the reporter falls for a lovely ingénue and does bear a grudge against Canale, his aggressive aversion to the latter isn't credible: he should have been fascinated by her in spite of himself, thus creating an inner conflict for the hero. As it stands, one is merely moved to see Canale cling pathetically to an unrequited love – for which she debases herself by being driven to crime in order to re-obtain a semblance of youth (a scheme which still backfires on her, as the effect only lasts for short periods of time)!

The latter drawback leads, incidentally, to a head-scratching scene towards the end of the film: Canale runs into the hero, who accompanies her to buy a painting – she starts reverting to her true decrepit age while writing a cheque, excuses herself and hurries away to 'safety'. This, somehow, arouses the reporter's suspicion (why he should care whether she is right or left-handed is beyond me, but her behavior appears odd even to the shop-owner) and he promptly phones a colleague who had accompanied him the night before to a party given at the castle – the latter, smitten with the lady, had stayed behind – and, consequently, discovers that his friend has vanished! Euro-Cult favorite Paul Muller's haunted, hunted look makes him ideal for the role of the hapless junkie who's, basically, blackmailed into complying with the doctor and the Duchess's perverse experiment. Curiously enough, Freda had originally intended him to be guillotined and subsequently reassembled; this grisly end, however, was dropped when Bava took over – but the stitching marks on his neck are said to be still visible in a scene where the re-animated Muller is grilled by Police (still, not being aware of his altered fate beforehand, I can't say that I noticed)!

Interestingly, I VAMPIRI fared poorly at the box-office; this has been attributed to the Italian people's innate skepticism of a home-grown horror product, thus giving rise to the long-running – and often highly amusing – practice of bestowing cast and crew members with English-sounding names! With respect to the American market, then, the film was bafflingly retitled THE DEVIL'S COMMANDMENT and included additional scenes featuring Al Lewis (later of the horror-spoof TV series THE MUNSTERS)!!