Countess Dracula / The Vampire Lovers (Midnite Movies Double Feature) [DVD]

J. Sheridan LeFanu's novella CARMILLA was published before Bram Stoker's DRACULA, and many readers have found it to be superior in writing style and in the fact that LeFanu doesn't reveal all of the apples in his vampire legends cart until close to the end. I have taught both stories, in America as well as China, in gothic British literature classes, and when I showed THE VAMPIRE LOVERS to graduate students in China, I was surprised when they seemed to be more blase about the nudity and Lesbian overtones than were my usually-more-worldly undergraduate students in the small Atlanta college. I show this film because it follows the LeFanu story rather closely -- more accurately than most cinematic versions of this pre-Dracula vampire.The scene before the titles where veteran vampire hunter Douglas Wilmer (as the nobleman Baron Hartog), out to revenge the death of his sister at the hand of vampires, severs the head from the body of a beautiful blonde vampire huntress, is a shocking image to some viewers not anticipating such graphic violence. Originally, this image of his bloody sword and the severed bloody head -- as seen behind the main title --was shown in reverse colors to dampen the shock, at least for American audiences, but this is not the case for this DVD release. Also not censored are nude shots of the lovely and talented Ingrid Pitt as she emerges from her bath in front of her naive next victim. The frontal attributes of both female characters are shown on-screen prior to, and during, their brief romp on the sheets. Clearly, this film is not for the squeamish or prudish.It is unfortunate that Douglas Wilmer as a Van Helsing type does not reappear until near the end, because his distinctive presence and Orson Welles voice are assets to any film in which he appears. Peter Cushing does not portray the vampire expert in this film, as he does in the Dracula films with Christopher Lee; here he is a general and father of the first on-screen victim of Marcilla, later to be known as Carmilla. George Cole is the father of the second intended victim, and he is as believable here as he is as the head servant Poole in the Jekyll and Hyde film MARY REILLY. The hero of the piece is portrayed by the young Jon FInch, who played MacBeth at about this time in the Roman Polanski version of that Shakespeare play. Finch is the young estate stewart who was the boy friend of the first victim, and he arrives in the nick of time to prevent Carmilla from taking away her second major intended victim to sleep with her in her coffin.Other victims in the film are Kate O'Mara, who is employed as Carmilla's helper by bestowing sexual favors on her, the at-first capable male servant played by Harvey Hall, and a couple of hapless female victims who are either wondering alone in the forest or asleep in a humble cottage. Why female victims insist on wondering alone in the dark with amble cleavage being exposed is something that defies logic in these films, but perhaps most viewers are not seeking logic when they watch these dark fantasies. Another victim is the family doctor played by Ferdie Mane, who is thrown from his horse even though the horse does not rear and buck him off. The sequences where he and Jon Finch, shown riding through the forest at night, are obviously studio-photographed close shots that in no way appear realistic.Why the pale horseman in black, showing himself to be a vampire, is almost always on the scene, but safely in the distance, is never explained. He delivers a set-up message to Dawn Addams in the beginning, but he is never identified as being Dracula or a member of the Karnstein family. Until the end when the vampire hunters are searching for Carmilla's resting place, he is usually laughing. If he is supposed to be a patriarch of the Karnstein clan, would it have hurt to be told this? Is it meant to be a mystery that we are expected to solve on our own? Perhaps.At any rate, the color used in this film, as well as the music, which is enhanced by a harpsichord intended to reflect the music of the eighteenth century (1700s), are excellent. We can forgive the low-budget appearance of the production because we now know that a bigger budget, such as in BRAM STOKER'S DRACULA and the Frank Langella version based more on the Hamilton Deane play rather than on Stoker's novel, is no guarantee of a superior production.COUNTESS DRACULA is, in my view, the lesser of the two films offered in the duo. Even though this story is based on the real-life exploits of the Countess Bathory from Hungary, it is not a vampire film and should probably not be sold as such. Even though it is given authenticity by the Hungarian participants (director, writer, actor, etc.) and even includes Nigel Green in its cast, well-known for his roles in THE IPCRESS FILE and ZULU, these touches are not enough to rescue this film from mediocrity.If you are lover of vampire films, as I am, buy this combo for THE VAMPIRE LOVERS. Unless you are particularly prudish or object to the women getting the upper hand over the men until the very end, you will not be disappointed.

This double feature from MGM has two classic horror films from Hammer Production. Both star the beautiful, voluptuous Ingrid Pitt ("The House that Dripped Blood") who delivers great performances in her roles as evil women. These beautifully photographed gothic films boast high body counts and a great deal of suspense and terror. Everyone wants to stay young and beautiful. In "Countess Dracula," the wealthy widow Countess Elizabeth is no exception. She discovers that smearing her body with virgin blood rejuvenates her, but only temporarily. She must kill and kill again. Her depravity knows no bounds as she strives to obtain her desires. She is one of the most evil, selfish women I've watched on film. The legend of Carmilla Karnstein is given new blood in Hammer's "The Vampire Lovers." The beautiful bisexual vampire Carmilla uses a host of false identities as she ingratiates herself into wealthy families. A reign of terror begins as she kills their daughters, their servants, nearby villagers, and anyone who discovers her secret. Oddly enough, this vampire can appear during daylight hours. Carmilla reminded me of Akasha in Anne Rice's "Queen of the Damned." Carmilla's saga continues in "Lust for a Vampire" and "Twins of Evil," both produced by Hammer. This DVD double feature is a must have for fans of Hammer films, gothic horror, and vampire tales. It is a great introduction to film star Ingrid Pitt and to the legend of Carmilla Karnstein.

These two long awaited MGM titles come to DVD at last in a nicely rendered double bill that should please most Hammer Horror fans. The first, 'Countess Dracula' gives us Ingrid Pitt in her second starring role for Hammer as Countess Erzebet Bathory an Hungarian noblewoman with a bent for bathing in virgins blood. Based loosely on Valentine Penrose's rather prosaic book The Bloody Countess, the film is lush to look at (aparently benefitting from sets left over from Anne of a Thousand Days)and competently acted. Sadly it is the weaker of the two, suffering from a draggy script and some inappropriate overdubbing. One would have thought that Ms Pitt's accent would have been just right for the character but instead we are tortured with the breathy and unsubtle vocals of an insipid teenage girl. It is a credit to Ms Pitt that this post production tampering doesn't sink her performance into self parody. The commentary is enlightening and I have to agree with Ms Pitt- the film could have been much more than the sum of its parts. Ultimately the script reduces itself to the level of a dull sex driven pulp romance masquerading as an historical tract and would have been far more interesting had it chosen instead to explore The Bloody Countess' recorded atrocities. It is also horribly painful to hear Peter Sasdy shoot Ms Pitt down in the final discussion near the closing credits. Much better and what should be the real A side of this DVD is 'The Vampire Lovers', made earlier the same year and co-financed by American International. This film gives us Ingrid Pitt in her seminal performance as the vampire Carmilla, invading the households of the local gentry to decimate their daughters and revenge the execution of her undead relatives at the hand of Joachim von Hartog. Like all Hammer films this one is beautifully photographed and solidly acted by the likes of George Cole, Ferdy Mayne and Peter Cushing in a cameo as the uncle of an early victim. Also boasting a fine musical score and gorgeous set dressings the film is driven by its fatalistic, if unconventional love story, the cause of much controversy at the time of its release. If the film is slow paced then this works in its favour, adhering faithfully to its source material, Joseph Sheridan le Fanu's 1871 tale Carmilla. The commentary tells us little that we didn't already know about the film; Ms Pitt sounding dreadfully ill and barely able to catch a breath. Having suffered the censors scissors for many years MGM have reinserted the previously edited full frontal hip bath scene but strangely have not restored Kirsten Betts' decapitation in the opening sequence. As Hammer Horror is a neglected cultural institution in its homeland, it would be nice if one day an English distibutor took it upon themselves to rectify this rather odd state of affairs and track down an uncut print. Much has been said about the sexual aspect of this film, that the protagonist is a lesbian and the imagery is the stuff of girlie magazines, but though 'The Vampire Lovers' is admittedly very much a product of its time it has managed to transcend its exploitative origins to become what we see today (thirty years on), a dreamlike gothic masterpiece that still weaves its magic. There is much to be cherished here.

Took a while to find this edition of MIDNITE MOVIES at a reasonable price, but it was worth the years wait. I watched both films the same day and was very pleased. Great picture quality and audio.

Had a lot of problems to receive the blue ray,contact the company and they sent several times a replacement till I recieved the movie.No problems for them they want their customers fully sastisfied and that's for sure I am.Never had a company who is so customer friendly.Thank you again Rarewaves

Satisfecho en todos los aspectos. Artículo nuevo recibido en óptimas condiciones.

Great movie

This solid transfer,finally in the correct aspect ratio, complete with some great extras, provides a much needed celebration of the multi-talented Ingrid Pitt - a true survivor in a notoriously difficult industry. Ironically - and much to her disgust - Hungarian director Peter Sasdy had concerns about her accent and re-voiced her so I believe Joan Plowright is the voice of the decidedly naughty Countess, we actually hear on the soundtrack. A very strange decision! This release is recommended for fans and for new audiences too who may be rather surprised about how explicit this film actually is. It's such a shame that Ingrid is no longer with us to enjoy this new blu ray too.The print is quite good but not restored and there is often minor damage and significant grain issues in a number of darker scenes.That said, the definition is better than the old DVD and the black levels etc. more acceptable although the contrast is far from perfect in several outdoor sequences but this might be a problem inherent in the original footage. Still the design, costumes and general production values are high and the cast is certainly more than proficient with several talented British actors in supporting roles and Sandor Elés making an unusual but quite effective leading man. His rapport with the flamboyant Ingrid was not very good on set and he found her full blooded voluptuousness rather challenging! This new Blu Ray is worth the investment if you can buy it at around £10 as the extras are guaranteed to interest Ingrid's fans too. A good, well thought out release, with an splendid booklet containing not only the traditional film notes etc but a long, detailed and amusing article on the real Countess written by Ingrid herself that displays both her impressive academic knowledge and lightness of personal touch!A.