I VAMPIRI (1957)
Directors: Riccardo Freda, Mario Bava (uncredited)
Image Entertainment

Although a box office failure in its native country, I VAMPIRI is often cited with inaugurating the Italian gothic horror cinema. Due to creative differences with the producers, director Riccardo Freda stormed off the set with two days of filming left. Cameraman Mario Bava took over director duties for the final two days, but his trademark touches can easily be distinguished, and film historians now like to credit the film to him. Bava of course would go on to become the most celebrated horror director of all time, while Freda's future fright film contributions would be far and few between (THE TERROR OF DR. HICHCOCK, THE GHOST).

The story takes place in Paris and involves the related murders of several beautiful dancers who have been drained of blood and dumped in a river. A newspaper reporter named Pierre (Dario Michaelis) believes that a vampire is responsible, and he's obsessed with catching the killer. A respected doctor, Professor Julien du Grand (Antonie Balpetre) injects an unidentified drug into the veins of the killer (played by Euro cult king Paul Müller). He's actually a poor soul who's turned into an addict and used as pawn to abduct the girls. The doctor is secretly working for the Duchess du Grand, who still mourns for her dead lover--Pierre's father. The Doctor provides her with blood transfusions that rejuvenate her youth and allow her to masquerade as her own granddaughter, Giselle du Grand (Gianna Maria Canale).

I VAMPIRI is actually an early take on the Countess Bathory legend--later handled in countless films, including Hammer's COUNTESS DRACULA. Although taking place in a modern setting, Bava's gothic expertise is explored through shots of skulls, coffins, cobwebs, rats and flickering candles, and he uses some nifty camera tricks that act as convincing special effects. Bava devised a fascinating lighting effect without the use of special makeup or time lapse photography that transforms the Duchess into a young beauty, and later back to the old hag that she really is. Bava's innovative style would later be utilized even better for his 1960 masterwork, BLACK SUNDAY, and a number of other distinguished efforts that would follow.

According to Tim Lucas' liner notes (included in the booklet insert), Bava practically saved the film, cleverly adding stock footage to create necessary scene transitions, augmenting the running time and making it all coherent. Bava is also responsible for making the character of Pierre much more significant--giving us a prying reporter on the trail of a vampire some 15 years before Darren McGavin's "Kolchak" on American TV. In one seen, Pierre's editor wants to take him off the case, much to his dismay (much like the relationship between Kolchak and his editor).

I VAMPIRI was released in the U.S. in the early 60s as THE DEVIL'S COMMANDMENT and later as LUST OF THE VAMPIRE. The American cut was re-edited with new spicy footage that included a performance by Al Lewis ("Grandpa" of TV's "The Munsters")! Image Entertainment presents a superb new transfer of the original Italian cut, in Italian with English subtitles. The black and white image is very bright and remains sharp throughout the presentation, with little wear in the source material. It's letterboxed in its original 2.35:1 CinemaScope aspect ratio, and it's nicely 16x9 enhanced.

Also, take note that Image has released this disc (along with Bava's KNIVES OF THE AVENGER) in a keep case rather than their usual snapper case. If this will be the norm from Image from now on, it's a most welcome trend. Extras on this disc include a bio and filmography of Bava, a filmography of Freda, a poster and still gallery (including shots from the bastardized U.S. cut), and trailers for other selections in Image's Bava collection. (George R. Reis)

 

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