Soif de sang

If you're looking for a vampire movie that's a little different, this is it. This movie is a total classic. It's about a cult of humans who keep a farm of other humans and milk them for their blood. This cult abducts a woman who is the direct descendant of their founder, Elizabeth Bathory. The poor woman is horrified at the vampirism and the cult continually tries to force her into drinking blood. It's a wonderful, creepy, scary, weird vampire film. This one is a must see for you vampire enthusiasts.

In this late 70's Australian horror, Kate Davis is abducted by a strange Brotherhood, a secret society of vampires, and is taken to their farm where humans are kept as cattle to feed upon.

There Kate learns that she is a direct descendant of Elizabeth Bathory, but refuses to accept her birthright as a vampire that the Brotherhood are determined she will inherit.

Good, atmospheric horror has good acting, direction and score, and the modern day vampire farm theme is certainly interesting. Not much character development or plot, but great production, special effects (for the time) and direction means this film is well worth watching.

8 out of 10.

Greetings and salutations; welcome to my review of Thirst 1979

The story gets a 1.25 out of 2: The Direction and Pace receive a 2.5 out of 4: The Performances get a 1 out of 2: And my Enjoyment level hits a 1.25 out of 2:

Giving Thirst a 6 out of 10:

To be honest, I wasn't expecting much from this picture, and I recently came across the title. Admittedly, I dislike it when writers begin messing around with a monsters mythos: in this case, the Vampyre. I was surprised to find myself being drawn deeper into the progressing tale. John Pinkney carries out a splendid job of constructing a modern Vampyre fable. These are not your night-stalking blood drinkers. No! These creatures can walk by day and have developed an ominous way of farming their beverage of necessity. These thieves of life discover Kate Davis to be the only surviving descendant of the notorious Elizabeth Bathory, and they undertake anything to usher her into their fold. So will the industrial and corporate side of vampirism defeat the older Monarchy's rule? Though this modern take is a breath of fresh air to the sub-genre, there is more to keep your attention. Pinkney adds nightmare scenes and elaborate operatic rituals, which adds to the strength of the story.

The strength of the film comes from Rod Hardy as he directs with a deft hand. On the whole, he keeps the direction pretty standard, which helps to build a feeling of normalcy into the telling. When something shocking happens, it's not overemphasised, and you're left temporarily believing it could happen. But when we get to the nightmare sections, the lights are lowered, and the shadows grow deep and ominous. It's subtle but represents such a contrast to the norm it works to heighten the tension.

I will furthermore say Thirst possesses one of the best opening sequences of any horror film. I loved it. It's the ideal way to hook the viewer. That said, there were times when the film could have upped the tempo a tad. A few overly long scenes begin tapping at dullness's door. But they are few.

One irk I did have with the film is that, even though it's not a special effects showcase, the effects they did show were poor: The double exposure red-eyes made me sigh with disgrace. Granted, at the time, they couldn't have done it any other way. But still, it would have looked dated then as it does today.

Next, there's the acting. I am sure Hardy asked them to be as utterly every day as they could be. Because of this, there's little spark in their personalities. Dr Fraser (David Hemmings) furthers his agenda for helping Kate (Chantel Contouri), but you don't feel he's that driven. And, the characters in the movie suffer from the same malady: Everyone needed a bit more oomph to them. It helps to create the normalcy of the happenings on the farm; everyone is going about their ordinary lives. However, in one scene, a walking blood bottle asks Kate to be kind to his friend because she would be frightened. After all, Kate had chosen her to be the one. This mundanity at knowing you're nothing more than a walking supply of blood is annoying. Nobody in the herd is rising against their suckers. It's merely life Jim, but not as we know it. Hence, when there should be conflict, no matter how small, there's just this plodding normality.

This downside could be due to the writing or the direction. But my point is the actors and actresses are so good at being ordinary that it hurts the film. I can't believe I'm saying this, but a smidgen of wooden or ham acting would have been nice. Not everybody is this mundane.

It's a minor issue though, and I would recommend all horror and macabre lovers to give Thirst a viewing, at least once. Who knows, you may enjoy it so much you may even take a second or third look.

Come on over to my Killer Thriller Chiller and Absolute Horror lists to see where Thirst resides in my charts.

Take Care & Stay Well.

Back in the 1970s the Australian film industry went through a renaissance due to Government investment and tax cuts. Many of the best known movies from that period and into the early 1980s were costume dramas ('Picnic At Hanging Rock', 'My Brilliant Career', 'Gallipoli'). Though there were a handful of exceptions to this, most notably the biker movie 'Stone' and Peter Weir's black comedy 'The Cars That Ate Paris', there were very few genre or exploitation movies being made. Inspired in part by Roger Corman local producer Antony Ginnane attempted to shake things up by making sex comedies, thrillers, and this, Australia's first vampire movie. Ginnane recruited experienced TV directors who could work quickly and effectively with small budgets. 'Patrick' was his first major success, and that was soon followed by 'Thirst', which is arguably the best horror movie to come out of Australia. 'Mad Max' was in post-production around the same time, and both movies deserve some kudos. Ginnane continued with a few other movies (including the schlock classic 'Turkey Shoot') but sadly his dream of creating the Aussie equivalent of AIP or New World just wasn't to be. Chantal Contouri, a popular TV actress, plays Kate Davis, a successful advertising executive, who is the descendant of the Countess Elizabeth Bathory. A secret society of hi-tech (for the time!) vampires kidnap her at try to convince her to fulfill her destiny. They try all kinds of tricks, including drugs and brainwashing. The supporting cast includes Max Phipps (later The Toadie in 'Mad Max 2'), and Rod Mullinar ('Patrick'), even Patrick himself, Robert Thompson. The Australian cast is helped out by two overseas imports Henry Silva and the late David Hemmings. Silva doesn't do all that much apart from look cool, but Hemmings gives a good performance as the enigmatic Dr. Fraser. He and Ginnane continued to work together after this movie e.g. 'The Survivor' starring Robert Powell which Hemmings directed and Ginnane produced. The DVD of 'Thirst' features a great looking print. For such a low budget movie (under Aus$750,000) it stands up well and has surprisingly strong production values. The commentary from Ginnane and director Rod Hardy is also an eye opener and emphasizes just how resourceful Aussie film makers had to be back in the 1970s and 1980s. It's no wonder so many of them went on to successful Hollywood careers. 'Thirst' in my opinion is not only the most effective and interesting Australian horror movie, but one of the most underrated vampire movies of all time. It has languished in obscurity for too many years. 'Thirst' - acquire the taste!

Interesting, ambitious take on vampire horror stories is good - if you get past the 70's music and porn-style hair+moustache!! Chantal Contouri is a wealthy young woman who is told she comes from a strong family of vampires...enter a BRAVE NEW WORLD-type scenario in which subjects "donate" blood, which is packaged in milk cartons and delivered to all the vampires living in the outside world. It's overlong, and overdramatic for such a story, but it's worth a look all the same - genre fans should enjoy it, as should fans of Australian film: this was definitely a landmark, as most films released by this country during the late 1970s were either "ocker" (BARRY McKENZIE, ALVIN PURPLE) or "quality" (PICNIC AT HANGING ROCK, BACKROADS, DEVIL'S PLAYGROUND). Of course, MAD MAX was released in the same year. Rating: 6/10.