Sangue de Vampiro

Decent Hammer imitation with a script by that studio's chief scribe, Jimmy Sangster. Producers Monty Berman and Robert S. Baker competed with Hammer in the horror stakes during the late 1950s/early 1960s (with Berman usually doubling also as cinematographer) via such efforts – besides the one under review which was actually their first – as THE TROLLENBERG TERROR aka THE CRAWLING EYE (1958), JACK THE RIPPER (1959), THE FLESH AND THE FIENDS (1960) and THE HELLFIRE CLUB (1961). Director Cass is best-known (if at all) for the Alec Guinness comedy LAST HOLIDAY (1950), itself recently retooled for the dubious talents of Queen Latifah!

The film (which I had been looking forward to for ages after viewing stills from it in critiques of the genre penned by film historian Alan Frank) is a lurid melodrama in vivid color and with, pardon the pun, full-blooded performances – but the contrived end result somehow misses the mark. For starters, the script seems uncertain whether it wants to be a Dracula (given its title and 'bloodthirsty' villain) or a Frankenstein (in view of the villain's guinea-pig experimentations with moribund or dead subjects) clone; the fact that it is almost entirely set in a mental institution-cum-prison (that includes future "Carry On" member Bernard Bresslaw as a rowdy jailbird) brings forth comparisons with the superior final Hammer Frankenstein entry FRANKENSTEIN AND THE MONSTER FROM HELL (1974)!

Distinguished thespian Donald Wolfit is surprisingly but effectively cast in the lead, while Victor Maddern has a memorable look as his knife-wielding henchman (although, again, bearing hideous features that are never explained); future Hammer startlet Barbara Shelley and Vincent Ball (playing a character saddled with the amusing name of John Pierre!), then, are reasonably appealing as the romantic leads. The rousing score is equally notable – as is a nasty climax featuring a pack of wild dogs prefiguring the one in Georges Franju's EYES WITHOUT A FACE (1959)! Incidentally, there is a very noticeable jump-cut during one of the lab scenes (suggesting that the film had censorship issues back in the day); incidentally, the Dark Sky DVD – which cleverly pairs it with the aforementioned THE HELLFIRE CLUB – amusingly allowed one to watch the show just as if it were playing in an old-fashioned Drive-In (complete with a host of schlocky trailers, ads and announcements)

Blood of the Vampire is one of those films that suggests it is more than it is. There is no vampire in the film, and there were only two references to vampires at all in the entire film. The film is a story of a doctor who tries revolutionary surgery on a dying patient only to end up as a visitor(prisoner) at a remote castle-prison run by a wicked scientist-warden and some of the most depraved prison guards around. The warden is played by none other than heavy Sir Donald Wolfit in full regalia as a thick slice of ham. Wolfit is a pleasure to watch as he barks out orders and sadistic lines to his lazy-eyed hunchback assistant and other minions about the prison. It seems he needs a scientist to help him with a blood disease he has. Victor Ball does a credible job as the good-natured prisoner. Lovely Barbara Shelley plays his love-interest. Miss Shelley looks simply wonderful. I was fortunate to meet Miss Shelley recently, and she told me that the film The Dresser was based on the life of Sir Donald Wolfit. It isn't hard to believe after watching this film. The man has an enormous presence about him. He really blows into existence what little life this film has. The film has a Hammer look to it, although not nearly as well-made. The budget for this film was apparently limited. The gothic look is, however, pretty genuine. I particularly liked the castle used. The pace of the film would be viewed by many as plodding. I rather enjoyed it...campness and all. A good old-fashioned horror tale!

The one enduring image from this film that has haunted me across the years is the weird hunchback assistant to the villain. Its an image that was splashed across horror magazines of my childhood. There was something about the twisted fellow with an eye that drooped to his cheek that made you want to see the movie. I never saw the film as a kid and it wasn't until tonight, well into my adulthood, that I managed to see the film. I can't say I was disappointed.

The plot concerns Dr John Pierre who is wrongly thrown in jail. He is redirected to the asylum/prison run by Dr Callistratus so that John Pierre can help Callistratus with his experiments concerning blood. As those outside the prison attempt to free him through legal means Pierre is forced to deal with the strange goings on in the prison, including fending off the sadistic Carl, the hunchbacked assistant of Callistratus.

Gothic, and grandly over the top in the way that most of the Hammer films weren't this is a cheesy but fun attempt at copying the Hammer Studios formula. It looks and feels very much like Hammer in it styling and plotting (Then again Jimmy Sangster of Hammer wrote the script) .Shot in color, the print I saw was well worn and a bit faded. I wonder how this would have looked at the time of its original release. It must have looked great. I loved the sets which were done in such a way as to give the illusion of space, unfortunately it turned every location into spaces the size of football stadiums (though in several sequences things were much too cramped).

The whole thing reminded me of the sort of thing you used to run across at 2am on late night TV with too many commercials. Actually as much as I liked the film I do think it is a bit plodding and probably could have used either trimming or a commercial break or two.

Strangely this film is very difficult to see. I'm at a loss as to why this film has fallen through the cracks over the last 40 odd years. Its not a bad movie, though it is a tad creaky and of a style they haven't done since Hammer stopped making movies. Perhaps its simply a matter of falling between the cracks in finding a distributor (it was not done by a "major producer"), or more likely the fact that there is no vampire with wings and fangs as promised in the title. What ever the real reason its a shame because this film is worth a look.

If you like Hammer style horror or good but rarely seen films, search this one out and give it a try. Its certainly worth a bag of popcorn on a Saturday night watch movies.

I couldn't agree more with the positive comments on this much-overlooked Hammer-styled gem. The 2006 Dark Sky DVD double-feature (with "The Hellfire Club") is a *must-have* for any fan of the early Hammer films. A delightful drive-in double-feature program design, including concessions ads, trailers and even an intermission, really adds to the enjoyment of the these two classic films. The transfer on both is quite respectable, certainly much superior to anything previously available, and is in anamorphic widescreen. Kudos to Dark Sky for their outstanding work on this and many other rare genre classics!

Here's a well-done Hammer-styled "cash-in" of Horror of Dracula, interestingly enough done by a US production company and released by Universal (Universal-International in those days), which of course was the company that did all those great classic horror films that Hammer eventually updated with great success.

It is too bad that this film has been so neglected that it cannot be seen except on worn-out and ridiculously expensive factory VHS tapes that are rare, or on DVD duplicates made off of faded 16mm film prints. I saw this 30 years ago on TV from a good 35mm print and remember that the colors were great, but the recent 16mm dupe I saw was really faded. Still, increase the TV color saturation, and it's way better than nothing at all. (UPDATE: I thought I'd better update this now that a factory DVD has been recently released. No longer do you have to pay way too much to see this.)

The few occasional lapses in logic notwithstanding, this is bound to please any fan of the early Hammer horror films, and Donald Wolfit does a great turn as the doctor who has become a sort of living vampire. Though there are no real supernatural elements, this film tops many others without having to rely upon the fantastic to carry it. A fabulous beginning title sequence is followed by a great scene where the vampire-doctor is revived, with his misshapen servant beside him, and then a large bat flies out from the ceiling rafters. You would swear it was an actual bat, and then wonder how did they get it to do it just right?

As an example of the attention to detail you'll see here: during a conversation between two prisoners, a rat scurries behind one unnoticed and for no other reason than to show that the place is a squalid jail cell. Nobody sees it, yells or stomps on it, or anything you'd expect to happen in another film. It's just there and passes by. Now that's real set design!