Les vampires

This one mainly works because of the amazing set direction and Gothic spaces. As it gets going it feels like a typical 1940s style murder mystery, with young women having gone missing, but hardly a horror movie at all. But when another girl disappears the search leads to an empty apartment building and then to the castle of a certain Countess du Grand, who happens to be enamored of the lead detective on the case. Though the castle appears to be of evil repute, the countess attracts guests to a ball, and the affections of another reporter. She is a mysterious figure, living in adulation of a portrait of the reporter's father, playing antique record players. The castle sets are stunning productions, drawing one into the horror that sustains her beauty (a storyline explored further in Eyes Without A Face, The Awful Dr Orloff, The Faceless Monster, Mill of the Stone Woman and Countess Dracula) . The movie literally gets gobbled up by the Gothic atmosphere of the castle, with its incredible gargoyles, elaborately Gothic crypt, secret passages, baroque cobwebs, pillars marked with demonic images, and a Sleeping Beauty tangle of vines on the grounds. The reliance on scenery alone to communicate a descent into a sadistic unconscious reminds one of Cocteaus Beauty and the Beast though the strategy was tried too in 40s Hollywood. When at last the mystery is discovered, here too the special effects are quite well done. Mario Bava was involved in the photography, just testing his fogbound vision of Gothic mystery, and it shows. After starting out all cops and robbers, this one ends up with a completely satisfying expression of pure demented horror.

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")

Vampiri, I (1956)

** (out of 4)

Riccardo Freda directed horror film about the police investigation into the discovery of several dead women whose bodies have been drained of blood. Today this film is best remembered as being the first Italian horror film of the sound era as well as being the first film directed by Mario Bava who took the chair after Freda walked away from the project. As with many other Gothic horror films, this one looks nice but while trying to create atmosphere, the director(S) seemed to have forgotten the story, which isn't too interesting. Like many others, the film also features way too much talk, which gets tiresome after a while. The cinematography by Bava is certainly the highlight. Paul Muller has a small role.

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 far as I am concerned, Mario Bava is simply THE greatest Horror director who ever lived, and there are several reasons why. No other director has ever been capable of creating a haunting yet beautiful, dream-like atmosphere in the brilliant manner that Bava was, there is no other Horror director whose repertoire includes the most genuine masterpieces. The supreme master of Gothic Horror and undisputed inventor or the Ialian Giallo, Bava single-handedly launched the Italian Horror boom which resulted in Italy becoming the undisputed country Nr.1 in the Horror world. Italian Horror cinema found real international recognition after Bava's incomparable Gothic masterpiece "La Maschera Del Demoni" (aka. "Black Sunday"), probably my choice for THE greatest Horror film of all-time. However, the milestone that launched the raise of Horror made in Italy in 1956 is this stylish and extremely elegant gem "I Vampiri". Horror films had been banned in Italy by the Fascist regime, and it was not until the mid fifties that this ban was withdrawn. The first post-WW2 Italian Horror film was directed by Riccardo Freda (another more than great director), Mario Bava was the cinematographer. When director Freda backed out from the project because he couldn't finish it in time, Bava jumped in and finished the film (even though he remained uncredited as a director). And what an accomplishment it is! The plot does not really revolve around traditional vampires as they would appear in other contemporary Horror milestones, such as the British Hammer classic "Dracula" of 1958.

This film has another morbid formula that would become one of the most popular themes in European Gothic Horror of the early 60s. A murderer is on the loose in Paris, and since the bodies of his young female victims lack even a drop of blood in their bodies, he has been nicknamed 'The Vampire'. - I shall not give away more of the plot, only that it mixes elements of mad science with the supernatural. The story is wonderfully morbid and suspenseful, however, it is arguably the cinematographic style that is the most pioneering element of this great film. The budget was actually quite low, but Bava's brilliant sense for lighting, and especially, for the dark, as well as incredibly uncanny settings create the beautifully eerie atmosphere that we so love in Bava's later films. Especially the wonderfully dark castle is a haunting and beautiful setting for such a fascinating story. The performances are also very good, the greatest coming from director Riccardo Freda's wife Gianna Maria Carnale in a mysterious role. Prolific Eurohorror/Exploitation Paul Muller began his streak of demented characters with this milestone. Overall, "I Vampiri" is not Bava's best Gothic Horror film - "La Maschera Del Demonio" is, without doubt, and other masterpieces, such as "Operazione Paura" (aka. "Kill Baby Kill", 1966), "I Tre Volti Della Paura" (aka. "Black Sabbath", 1963) or "La Frusta E Il Corpo" (aka. "The Whip And The Body", 1963) also easily surpass it. However, it was this milestone that started Italian Horror. And what an elegant, haunting and fascinating milestone it is! An absolute must for every Bava fan, Horror-buff or lover of great cinema in general!