One of Rollins' most accessible films, it's another meditation on sex and death, requiring a suspension of logic. Just go with it and you'll discover the many charms in its hidden chamber of horrors. Despite the usual wooden acting (and nudity) on display here, it's an oddly poetic and Proustian work of memory and childhood in a surrealistic wrapping.
The first time I saw this, I was very impressed! Rollin lives up to his "undiscovered cult master" reputation here. Anyone attempting to watch this lasciviously will probably turn it off in frustration by minute 10, but what you get instead is a grindhouse Vertigo, building an atmosphere of mystery in the Feuillade/Franju tradition and sporting one of the smarter film-within-a-film moments known to postmodernism.
Again, this guy has a leaden touch when it comes to horror or suspense. He does have a great way with set design though. The women in the film walk around like dazed models looking for a runway. The plot had some promise but was butchered as it unfolded. Enough with the Rollin!
Is it wrong that ...I recently saw my babysitter from when I was 12 for the first time in twenty-something years (and am still wildly attracted to her), and this film has me ravenously hunting for her address/ contact info several states away? Probably problematic... (true story, perverse yes, but a carnal mist everyone can relate to, no? Wish me luck??) Leave it to Jean.
Get past the cheap production value and gratuitous nudity and this movie is actually interesting. A man is determined to uncover a mystery in his past and all sorts of things happen around him. You never really know who is good and who is bad. This is fun. Is it wrong to wish for a modern day remake?
È esattamente lì, attraverso quella suggestiva carrellata circolare eseguita nella silenziosità di quei luoghi popolati di meravigliose "sentinelle" esangui, che la regia di Rollin si eleva con uno sguardo genuinamente contemplativo... http://visionesospesa.blogspot.it/2015/04/il-lirismo-vampirico-di-jean-rollin-2.html
The ending is perverse and oddly touching. This is my third Rollin film and I like how he mixes the art film with the exploitation movies. Unfortunately, he's too ponderous and slow for a lot of modern film fans so he'll probably never catch on like someone like Russ Meyer.
Featuring neither the bizarre plots of his earliest films of the poetic lyricism of THE IRON ROSE, LIPS OF BLOOD exists somewhere in between as a strangely compelling exploration of childhood memory, as a man's repressed memories lead him to discover dark family secrets and a hidden vampire girl he has loved since he was a child. Packs a surprising emotional punch, more so than its predecessors.