Yûrei yashiki no kyôfu: Chi wo sû ningyô

Despite its vampire titling, I would place this film more in the ghost-story genre (featuring that famous figure of Japanese horror cinema: the creepy, and ever-silent, female, child-like waif).

My short summary is that, in the end, the film does not quite capitalize on the wonderfully eerie mood it builds, but that it is well worth a watch and has some great (and occasionally scary) cinematic moments. (My main complaint is that the film ends up using what I will call the "Scooby Doo" reveal at several points, in that it employs both peripheral and central characters to tell us, in narrative format, the backstory: the who, what, where, when and why. It's a strange choice for a movie that relies so heavily on images and subtle expressions for the first 75% of the running time.)

While some have compared the film to the Hammer offerings, the moral universe here is not quite as "modern" in its themes, as its chief concerns are with familial loss, personal revenge and the ripples of social violence. (Even Hammer's historically oriented offerings-- say, the Witchfinder General or the Karnstein Trilogy-- tend to be preoccupied with much more contemporary themes.)

In terms of aesthetics, my own comparison would be to something like "Carnival of Souls" and, as a result of the really fine cinematography of Kazutami Hara, to something a Hitchcock understudy might have made. (My understanding is that the producers did want something like a Hammer-style vampire movie, but that the director was definitely looking for something in the Hitchcock vein. That might explain the somewhat disjointed style at points.)

Anyway, worth a watch, particularly as there are some really memorably unsettling episodes involving Yuko dispersed throughout the firlm. (The likes of Wei-Hao Cheng and Takashi Shimizu must have studied this film for inspiration.)

A side note: It's never developed enough to warrant extended consideration, but I could not help but notice the role that "the foreign" plays in this film (it's even more pronounced in "Lake of Dracula," the second installment in the trilogy). There are many instances where we learn that various male characters in movie have traveled beyond their homes / overseas as diplomats, to the US on business, in service for the war, etc., and that this contact or travel has unsettled the world in which they live. In at least two instances, this impact of foreign culture / foreign contact becomes very important to the narrative. It's easy to miss, but does some plot-work nonetheless.

Very well shot and creepy tale that seems to be somewhat unoriginal at first, albeit, still able to induce a few jumps by me, which is a bit unusual. Gradually, though, this becomes less familiar and whilst occasionally verging on the silly, still enough solid horror element to hold one pretty spellbound in its grip. The most unusual and intermittent soundtrack helped keep up the unease and indeed, ramp up the scares. The final denouement almost degenerates into farce but once again the direction is so sharp that we are still persuaded. Good performances all round and a particularly energetic one by the guy playing the mute servant. Lovely old western style house too, which, I assume is why we had none of the usual shoe removing. Effects were simple yet effective and the dead girl always very good indeed. Well worth catching and I must watch out for the other two in the series.

Keiko (Kayo Matsuo) and her friend try to find her missing brother after he disappeared on a trip to visit his girlfriend Yuko (Yukiko Kobayashi). They don't get very far as Yuko's mother claims the brother ran away after finding out Yuko had been killed in a car wreck the week before his visit. But Keiko finds signs that she might be being lied to - namely, a doll that her brother had purchased and, oh yeah, she sees Yuko's corpse walking around at night. This Toho production is a unique Japanese take on vampires. Fans of suave vampire types will be disappointed as this film's count is very different. The film does benefit from some great scary and atmospheric bits though. I also wonder if Tobe Hooper ever saw this as several things remind me of his later SALEM'S LOT (1979), most notably the design of the vampire (pale blue face with gold glowing eyes) and the rotting depiction of the vampire's lair. Toho produced two more vampire films after this in LAKE OF Dracula (1971) and EVIL OF Dracula (1974).

The Vampire Doll is the first film of what would later on become The Bloodthirsty Trilogy with Lake of Dracula and Evil of Dracula. Produced by Toho Studios, The Vampire Doll was directed by rather unknown director Yamamoto Michio who had been working as assistant director on Kurosawa Akira's Throne of Blood. The lead actresses and actors had also mostly played in low-budget gangster movies or television films. Nobody really expected this take on classic Western vampire stories to be a success but The Vampire Doll turned out being an incredibly atmospheric film that has stood the test of time.

The settings are perfectly chosen for this film that starts on a lonely road in rural Japan on a rainy night. The most important location is the secluded mansion inspired by Western culture with its elegant but old-fashioned decorations. The old cemetery that isn't taken care of blends in perfectly. Even the nearby sleepy village recalls elements of European horror literature and cinema.

The ominous, melodic and gloomy soundtrack fits perfectly as well. The sound effects of a wailing woman and angry birds intensify the atmosphere. The camera work is generally calm and precise and therefore surprises when sudden cuts take place to introduce quite efficient jump scares.

The acting performances are superb. Matsuo Kayo convinces as sympathetic lead actress who is very emotive and willing to risk her life to save her brother. Her more grounded and rational partner played by Nakao Akira complements her excellently. Minakaze Yoko excels as creepy lady who seems to have some skeletons in her closet. Takashina Kaku convinces as deaf employee with a hauntingly creepy look and rude manners. Every single actor and actress involved performs with passion and talent that is unusual for such a low-budget horror movie. It's something that is very rarely seen nowadays.

The story isn't the most creative one and obviously inspired by classic European horror films but it's told in a steady pace that will keep you entertained from start to finish. The movie revolves Sagawa Kazuhiko who had spent six months abroad and wants to see his fiancee Nonomura Yuko again. When he arrives at her family mansion, he is told by her mother that she died two weeks earlier in a tragic traffic accident. About a week later, Sagawa Kazuhiko still hasn't returned home and his sister Keiko starts to be worried. She convinces her fiance Takagi Hiroshi to visit the family mansion where her brother was headed for. When they arrive, they are told that her brother left the day after he was told that his fiancee had died but Keiko senses that strange things are going on in the mansion. Her fiance and she decide to stay to investigate the family's sinister past in a nearby town. The further they investigate, the more their lives are getting in danger.

If you like classic atmospheric horror movies, you will adore The Vampire Doll. The settings, effects and acting are still superb by contemporary standards. It's the best horror film I have seen in a long time and I would both revisit it again soon and recommend it to my friends.

The first film in Yamamoto Michio's "The Bloodthirsty Trilogy" is usually viewed by fans of macabre cinema as the weakest of the three. Personally I find it stunning. Fully titled "The Fear of the Ghost House : The Vampire Doll" ("Yûrei yashiki no kyôfu: Chi wo sû ningyô") , Michio wasn't expected to turn in anything special for Toho (makers of the Godzilla films). just a simple pot-boiler rip-off of a typical European Horror.

Writers Hiroshi Nagano and Ei Ogawa however delivered a script which relied heavily on traditional Japanese ghost stories, which Michio then shot on Gothic style sets (the house, for example, is straight out of a Hammer, with oil portraits and suits of armour) with nods to western vampire tropes. The mix they created is intoxicating: full of atmosphere, genuinely creepy, and, in places, with unexpected scares of the quality of the earlier "Les Diabolics" or the later original "Ringu" ("Ring"). Highly recommended for anyone who likes classic horror, 1960s Hammer, or Asian Horror.