This is, in fact, the Gothic horror film which kicked off the new cycle of worldwide horrors in a cycle which lasted approximately fifteen years. Usually, Hammer's THE CURSE OF FRANKENSTEIN is singled out as being the first, but Freda's Italian chiller has it beaten by a whole month. Although lacking in the style and finesse - not to mention the coldly compelling beauty - of later Italian Gothic chillers, for example Freda's own TERRIBLE SECRET OF DR. HICHCOCK, THE VAMPIRES is nonetheless an influential and enjoyable little B-movie in its own right.
While the early editing and camera-work seem a little crude (things progressed a lot in a short space of time, believe me) this is still enjoyable viewing. The only real difference with later Italian - and British - gothics is the modern setting, which makes way for some incongruous ballroom dancing and hard-nosed policemen investigating the case; these moments sit oddly with the spooky castle in which the "vampire" lives. Storywise, this is another take on the legend of Elizabeth Bathory which later inspired COUNTESS Dracula and others; this time, with the cold edge of science it's a mad doctor who drains blood from the innocent rather than the duchess herself.
The film starts as it means to go on with a beautiful woman, dressed in sexy lingerie, undressing even further - no doubt controversial in the day. This film holds no bars in its depiction of the murders and capture of young women, shot in a distinctly "in your face" style which drags you right in there with the action. The photography by Mario Bava shows traces of the style and beauty he would fill his films with later on; the iconic Bava also incidentally directed part of this film himself after Freda left after ten days of shooting, no doubt due to those "creative differences". Indeed there are also shots of a black-gloved killer here that would later figure predominantly in the works of both Bava and Dario Argento.
Although the Paris setting is unconvincing and the police investigation somewhat listless, THE VAMPIRES works best when showing the action in the castle. Staple props like skeletons, coffins, rats, and flickering candles are used well; they may be clichés but they certainly account for the right kind of gloomy atmosphere. The special effects are limited to scenes of the duchess reverting back to her real age but these are done with surprising efficiency; no cut-aways or dissolves, just portrayed as is. The finale is properly action-packed and horrific, the running time short and unpadded. Although this movie is far surpassed by the Gothic horrors of the early '60s in terms of quality, it still remains a watchable B-movie item which has a place in the genre's history.
While the early editing and camera-work seem a little crude (things progressed a lot in a short space of time, believe me) this is still enjoyable viewing. The only real difference with later Italian - and British - gothics is the modern setting, which makes way for some incongruous ballroom dancing and hard-nosed policemen investigating the case; these moments sit oddly with the spooky castle in which the "vampire" lives. Storywise, this is another take on the legend of Elizabeth Bathory which later inspired COUNTESS Dracula and others; this time, with the cold edge of science it's a mad doctor who drains blood from the innocent rather than the duchess herself.
The film starts as it means to go on with a beautiful woman, dressed in sexy lingerie, undressing even further - no doubt controversial in the day. This film holds no bars in its depiction of the murders and capture of young women, shot in a distinctly "in your face" style which drags you right in there with the action. The photography by Mario Bava shows traces of the style and beauty he would fill his films with later on; the iconic Bava also incidentally directed part of this film himself after Freda left after ten days of shooting, no doubt due to those "creative differences". Indeed there are also shots of a black-gloved killer here that would later figure predominantly in the works of both Bava and Dario Argento.
Although the Paris setting is unconvincing and the police investigation somewhat listless, THE VAMPIRES works best when showing the action in the castle. Staple props like skeletons, coffins, rats, and flickering candles are used well; they may be clichés but they certainly account for the right kind of gloomy atmosphere. The special effects are limited to scenes of the duchess reverting back to her real age but these are done with surprising efficiency; no cut-aways or dissolves, just portrayed as is. The finale is properly action-packed and horrific, the running time short and unpadded. Although this movie is far surpassed by the Gothic horrors of the early '60s in terms of quality, it still remains a watchable B-movie item which has a place in the genre's history.