Italian cinema goers long held an aversion to horror films and thirty-seven years were to elapse between the silent 'Frankenstein's Monster' of 1920 and this film of Riccardo Freda. It's production problems have been well documented. Considering its miniscular budget, ludicrously short filming schedule and the late exit of its director, the end result is not at all bad. The film's cinematographer Mario Bava stepped up to the plate and it is indeed notable for its visual style. The ballroom scene is especially impressive and the production design by Beni Montrasor evokes a feel of Edgar Allan Poe. Budget dictated that the period be updated to the mid-twentieth century but this actually works in the film's favour.
Although they remained married until his death this was to be the last film in which Gianna Maria Canale appeared for Freda. At a height of 5' 8'' this ravishing raven-haired, green-eyed former Miss Florence is just right as Giselle du Grand who relies on the blood of others to maintain eternal youth. Unfortunately for her the effects do not last long and she begins to show her true age at the most inopportune moments! Scientist Julien who attempts to perfect the process is played by Antoine Balpetre. Her supply requires regular topping up and one of the reluctant 'donors' is lovely Wandisa Guida whose career alas did not amount to much. The weak links in the film are Carlo d'Angelo as the policeman and Dario Michaelis whose role as the journalist has been enlarged by Bava. Both alas are rather bland and the screen empties when they appear. One would like to think that La Canale's husky voice is her own but thanks to the ineffable mysteries of Italian post-synchronisation most of the cast is dubbed.
Although far from being classic horror it is very watchable and is obviously of interest in relation to where it stands in the history of the genre. The character of Giselle is no doubt inspired by the legendary Elisabeth Bathory whose best personification is that of Delphine Seyrig in 'Daughters of Darkness'. Mario Bava went on of course to direct the stylish 'La Maschera del Demonio'.
It was not 'I Vampiri' which popularised the genre but apparently the Hammer production 'Dracula' to which this dubious honour belongs. Terence Fisher's film introduces the concept of vampirism as somehow being sexy and glamorous rather than the pestilential curse it really is.
Although they remained married until his death this was to be the last film in which Gianna Maria Canale appeared for Freda. At a height of 5' 8'' this ravishing raven-haired, green-eyed former Miss Florence is just right as Giselle du Grand who relies on the blood of others to maintain eternal youth. Unfortunately for her the effects do not last long and she begins to show her true age at the most inopportune moments! Scientist Julien who attempts to perfect the process is played by Antoine Balpetre. Her supply requires regular topping up and one of the reluctant 'donors' is lovely Wandisa Guida whose career alas did not amount to much. The weak links in the film are Carlo d'Angelo as the policeman and Dario Michaelis whose role as the journalist has been enlarged by Bava. Both alas are rather bland and the screen empties when they appear. One would like to think that La Canale's husky voice is her own but thanks to the ineffable mysteries of Italian post-synchronisation most of the cast is dubbed.
Although far from being classic horror it is very watchable and is obviously of interest in relation to where it stands in the history of the genre. The character of Giselle is no doubt inspired by the legendary Elisabeth Bathory whose best personification is that of Delphine Seyrig in 'Daughters of Darkness'. Mario Bava went on of course to direct the stylish 'La Maschera del Demonio'.
It was not 'I Vampiri' which popularised the genre but apparently the Hammer production 'Dracula' to which this dubious honour belongs. Terence Fisher's film introduces the concept of vampirism as somehow being sexy and glamorous rather than the pestilential curse it really is.