Usual movie by Rollin making no sense at all. I suppose he was in cinema biz just for the pussy and how could you blame him? What he couldn't have known was there would have been a lot of people stealing his visual ideas, that -yes- they were quite good, just to try make their crappy music projects a little bit more interesting.
Fully self-aware, charmingly impish and endearingly unpretentious, this is my favourite Rollin so far. A melodramatic, strangely innocent, gleeful Freudian romp through repressed memories, family trauma, sex, death and mother issues, leading to a triumphant (and super cute) victory over the REAL vampire of Psychic Baggage. Beautiful, disarmingly genuine & hilarious.
Stylish erotic horror film from director Rollin that finds a man haunted by his forgotten childhood suddenly remembering a girl when he sees a photo of some ruins and a castle. As he tries to discover their locale he is drawn into a world of lies, secrets....and vampirism. Not as silly as it sounds this atmospheric tale is an enjoyable watch even as it scraps along the side of soft core erotica.
I watched Fascination before this and thought it was fine not a good movie. The beautiful naked ladies compel me to give another Rollin movie a try. This is even worse than Fascination. The plot is a huge mess and the acting is laughable. Good set design and beautiful actresses do not save a bad film.
You won't find great acting or great scripts with Rollin's films, but there always is an enigmatic and erotic sense of atmosphere. And here, compelling imagery, interesting locations, and even a certain poetic sensibility to it all. This is 70s erotic horror by way of France, so be prepared for something completely different.
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.