A predictably plotted Hammer vampire film with a decadent atmosphere, two former Playboy Playmates and a surprising amount to say about the nature of human evil.
Twins of Evil is the third and final Hammer film to be based (loosely) on Sheridan Le Fanu’s Carmilla. It is a sequel of sorts to the novella- featuring added witchhunters, satanists and of course, vampires and twins.
Mary and Madeleine Collinson star as the titular twins, Maria and Frieda Gellhorn. They travel to the small, misty ‘Central European’ Karstein village to stay with their aunt (Kathleen Byron) and witch-hunting uncle (Peter Cushing). Although the twins’ characters appear to have grown up together, Frieda speaks in foreign accented English, whereas Maria’s accent is closer to Received Pronunciation (both actresses were dubbed). This was probably done to help viewers to tell them apart. Interestingly, foreign accented Frieda is the more adventurous of the two. She soon gets drawn into the mysterious goings-on in the castle above the village.
The other two main characters are Weil (the aforementioned witch hunter) and Count Karstein (Damien Thomas).
Weil is determined to rid the village of satanic elements. Cushing, as usual, takes the role very seriously and portrays a multifaceted character torn between his obligations to God and the Brotherhood and his growing realisation that burning young women at the stake might not be the most effective way to eradicate evil. Cushing steals each scene that he is in- his increasing fear for the safety of his twin nieces is palpable.
Read more about Twins of Evil (UK, 1971) …
The second film in this analysis of two film adaptions of the gothic vampire novella Carmilla by Sheridan Le Fanu.
The first part of this article dealt with a little known French adaption of the classic short story (if you haven’t already- read Part 1 here). Next, we will look at the more widely released The Vampire Lovers, British studio Hammer’s take on the story. Although their source material is the same, Et Mourir de Plaisir and The Vampire Lovers are very different films in terms of tone, style and execution.
Read more about A Tale of Two Carmillas- part 2: The Vampire Lovers (1970) …
An analysis of two film adaptions of the gothic vampire novella Carmilla by Sheridan Le Fanu.
Predating Dracula, Sheridan Le Fanu’s Carmilla (1872) has continued to provide inspiration for many vampire films and has spawned various adaptions.
It is a short story set in 19th century Styria about a young woman called Laura who becomes close friends with her mysterious houseguest Carmilla. Around this time Laura begins to have strange nightmares and her health starts to decline. Carmilla is later revealed to be the vampire Countess Millarca Karnstein by General Spielsdorf, whose niece Bertha was suffering the same symptoms. The vampire is subsequently staked by vampire expert Baron Vordenburg- yet it is implied that Laura never recovers from her encounter.
Recently, Sheridan Le Fanu’s Carmilla has been given an interesting new reimagining in the Youtube series Carmilla (2014), which sees the action transported to a modern day university.
This two part series will analyse two very different earlier adaptions of the source material- Et Mourir de Plaisir (And to die of pleasure, 1960) and Hammer Horror’s The Vampire Lovers (1970). First, we will look at Et Mourir de Plaisir– directed by Roger Vadim (Barbarella) and starring his then wife, Annette Vadim as Carmilla.
Read more about A Tale of Two Carmillas- Part 1: Et Mourir de Plaisir (Blood and Roses, 1960) …
Introducing four of the best British psychological horror films from the early 60s- The Innocents, The Haunting, 80,000 Suspects and Repulsion.
……from Professor Spool’s archive
At Halloween most television and cinema schedules will be dominated by the usual ‘scary suspects’ – Dracula, Frankenstein’s monster, werewolves, Freddie, Jason and maybe even a Mummy. Such horror creations are so readily visible on the screen whether they are steeped in folklore like vampires or based on real life Jack the Ripper type serial killers.
In concentrating on these overt, bloody and often very gruesome depictions, schedulers frequently overlook the primal basis of all horror – fear itself. The very fear that lurks deep in our psyche and that can manifest itself in so many different ways. One such manifestation is that which is unseen – you may be able to sense danger, your sub-conscious may play tricks on you, the sounds you hear may add to the dread and foreboding that occupy your thoughts. What you can’t see can hurt you – it can produce irrational behaviour, questions our very sanity and understanding of what is real or a figment of our fevered imagination.
Let me now recommend four fine celluloid examples that are immersed in the very atmospheric fear I have just described. This quartet of black and white ‘mind-chillers’ were all made in Britain in the early sixties.
Read more about What You Can’t See Can Hurt You! …