The Vampire Lovers (Roy Ward Baker, 1970) UNCUT [RePoPo]

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Name:The Vampire Lovers (Roy Ward Baker, 1970) UNCUT [RePoPo]

Total Size: 1.39 GB

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The Vampire Lovers (Roy Ward Baker, 1970) UNCUT [RePoPo].avi (Size: 1.39 GB) (Files: 5)

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The Vampire Lovers (Roy Ward Baker, 1970)

Technical Information
Type..................: Movie
Container file........: AVI
Video Format..........: H.264
Total Bitrate.........: 2273 Kbps
Bits/(Pixel*Frame)....: 0.300
Audio format..........: AC3 192 Kbps (Untouched)
Audio Languages.......: English 1.0
Subtitles Ripped......: Spanish
Resolution............: 720x384 (Original, cropped black bars)
Aspect Ratio..........: 1.85:1
Original Aspect Ratio.: 1.85:1
Color.................: Color
FPS...................: 25.000
Source................: PAL DVD
Duration..............: 01:27:17
Genre.................: Horror
IMDb Rating...........: 6.3
Movie Information.....: http://www.imdb.com/title/tt0066518/


Size has been calculated in order to get the optimum PQ without oversizing the
file, hence the irregular size of the file (not the usual 700Mb/1.4Gb rip).
A rate of Bits/(Pixel*Frame) around 0.3 is perfect, above that point, picture
quality becomes virtually the same to the original source.

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Release Notes
Plot Synopsis by Dan Pavlides

This sexy horror story from Britain's Hammer Films finds Ingrid Pitt playing
three roles, the most notable being a lesbian vampire who will resort to biting
a man only when it is absolutely necessary. A doctor and a manservant are
victims, but only after she has exhausted all attempts to sink her fangs into
the bosoms of young women. The General (Peter Cushing) finds his daughter Laura
(Pippa Steel) is victimized by the bite of the vampiress. With the help of Baron
Hartog (Douglas Wilmer), they try to end the horror brought by the blood-sucking
beauty. Blood, gore and a few decapitations are depicted before the wooden
stakes and crosses are brought out.
Ingrid Pitt - Mircalla/Marcilla/Carmilla
George Cole - Roger Morton
Kate O'Mara - Mme. Perrodot
Madeline Smith - Emma Morton
Peter Cushing - Gen. Spielsdorf
Dawn Addams - The Countess
Ferdy [Ferdinand] Mayne - Doctor
Douglas Wilmer - Baron Hartog
Carl Finch - Carl Ebbhardt
Kirsten Betts - 1st Vampire
John Forbes-Robertson - Man in Black
Harvey Hall - Renton
Charles Farrell - Landlord
Graham James - Young Man
Olga James - Village Girl
Janet Key - Gretchen
Pippa Steele - Laura Spielsdorf
Shelagh Wilcox - Housekeeper

Roy Ward Baker - Director
Harry Fine - Producer / Screenwriter
Michael Style - Producer / Screenwriter
Tudor Gates - Screenwriter
Moray Grant - Cinematographer
Harry Robertson - Composer (Music Score)
Harry Robinson - Composer (Music Score)
James Needs - Editor
Scott MacGregor - Art Director
Roy Hyde - Sound/Sound Designer
Tom Smith - Makeup
Derek Whitehurst - First Assistant Director
Tom Sachs - Production Manager
Vic Armstrong - Stunts Coordinator
Joseph Sheridan Le Fanu - Short Story Author


The Vampire Lovers is one of the more famous of Hammer's later cycle of films,
for two reasons (both belonging to Ingrid Pitt). But copious amounts of Ms
Pitt's flesh aside, it has been unfairly maligned. In no way is it as bad as the
sequel Lust For A Vampire, and it's certainly not as toe-curlingly awful as the
real tit-and-bum stuff like Virgin Witch.
It's a very literate translation of La Fanu's short story Carmilla (some would
say too literate), with none of the kitschness of Lust. Apart from the
occasional appearance of an unnamed green-faced tosser on horseback (I have no
idea why), Lovers is also quite a good film. Not as wonderful as Twins Of Evil,
but certainly not as bad as Horror Of Frankenstein.
In the pre-credit sequence we get told the new vampire rules - if you steal
their shroud, they can have no night of rest. Plus they can only be killed by a
stake through the heart or decapitation. So after self-styled vengeful vampire
killer Joachim Von Hartog goes to search for these "murderers from beyond the
grave" and spies a "kind of human shape" (or woman under a pink blanket), we get
Hammer's new approach distilled into a single scene - shrinking away from a
gorgeous blonde, Hartog appears to have failed until her exposed boobs touch his
crucifix. She bears her fangs, he finds his strength and lops her head off in a
triumph of special effects. No, really. Unfortunately, the makers were obviously
so impressed with their cleverness that they chose to repeat the scene twice
again during the film.
During a Pride And Prejudice style dance hosted by General Spielsdorf (Peter
Cushing), we are introduced to Marcilla (Pitt) and her suspiciously
young-looking mum, who arrive after Morton (George Cole) and his daughter Emma
(Maddy Smith) have left. Marcilla's mum does a bunk and leaves her daughter in
the charge of Spielsdorf, and it's not long before his daughter, Laura (Pippa
Steele), has succumbed to Marcilla's nudy breast-kissing antics ("Oh Marcilla
you're so kind to me... I swear I shall die when you leave..."). Every night
Laura finds herself attacked by a giant cat, and during the day Ingrid practises
her acting on-camera (sample dialogue: "I could not SLEEP... I went to the
CHAPEL... to PRAY..."), but it's not long before Laura's dead, the doctor
discovers puncture marks on her norks and Marcilla vanishes, the house echoing
to Cushing's plaintive calls of her name. Marcilla has made her way back to the
castle seen in the pre-credits sequence, and as her nightgowned figure vanishes
into the fog, the camera comes to rest on the tombstone of Mircalla Karnstein.
Of course, it's not long before the obligatory busty girl is attacked in the
forest, and we're then treated to a spectacular coach crash which sends footmen
and horses scattering in all directions. The crash has happened right in front
of Morton and Emma, and who should stagger out of the overturned coach but
Marcilla's mum - her daughter is inside. Mum palms her daughter (this time
called Carmilla) off on the trusting Cole and legs it again, and it's not long
before Pitt and the equally busty (and more lovely) Maddy Smith are enjoying
several naked bed and bathroom scenes together ("You must take it all off..."
says Carmilla).
It's also not long before Emma is having the same nocturnal feline visits as
Laura before her ("The trouble with this part of the world is they have too many
fairytales," says her governess, Kate O'Mara), but of course, this being an age
before telephones, the family has no idea what has happened to their friends
down the road.
Another peasant girl is killed in the forest, and as her funeral courtege passes
by Carmilla and Emma, Carmilla reacts quite badly.
"I hate funerals!"
"I thought it sad, yet somehow beautiful," replies Emma.
"You must die! Everyone must die!"
Blimey. Calm down, love.
It's not long though before people start putting two and two together, and
realise there's a vampire at work. The weakening Emma is surrounded with
cricifixes and garlic (Pitt does a fantastic double-take the first time she
walks into the bedroom), the Karnstein legacy is explained (twice) and Cole
meets up with Spielsdorf, Laura's boyfriend and Bartok, finally realising that
Marcilla, Carmilla and Mircalla are all one and the same: "That girl is a guest
in my house!"
As a whole bunch of sweaty blokes rush back to Cole's house, Pitt is busy
munching her way through the servants (the butler failing to realise it was her
who was the be-fanged one), but fails to kill Emma - and as a knife is thrown at
her by Laura's grieving boyfriend, vanishes into thin air. Things are boiling up
nicely for a climactic approach towards the castle by torchlight, and we're not
let down as we proceed to a very gory staking and a not-as-good-as-the-first-one
The final scene sees Mircalla's painting turn from a beautiful girl into a
skeleton (nice touch).
Vampire Lovers is a good film, not great, illuminated by the gorgeous Maddy
Smith, the ever-dependable Cushing, a decent script and a few home truths about
vampires. Much like Dracula in the original book, Mircalla walks around in
sunlight, is afraid of just garlic and crosses, nothing more, and doesn't have
recourse to coffins. Refreshingly, she doesn't even like funerals. Makes Lee's
Dracula look positively Transylvanian.


Keith Allen (Movierapture.com)

Roy Ward Baker's The Vampire Lovers is a wonderfully fun film. While it is
burdened with several overdone scenes, a number of awkward lines, and a few
other faults, it is such a genuinely fascinating, sensuous, and eerie movie that
it is almost certain to captivate the viewer.

The director combines in his film a sense of ominous menace with both a potent
evocation of the supernatural and a sensuous almost feverish eroticism. While
making the viewer aware of some mysterious, numinous presence, some uncanny
power that has taken form in Carmilla, Baker repeatedly reminds him of the
dangerous cruelty of that power and, consequently, fills him with real feelings
of fear. At the same time, the director brings out the seductive allure of such
an otherworldly being and makes clear the intoxicating, hypnotic influence she
is able to exert on those around her. Thanks to the skillful evocations of all
these feelings, Baker's film is able to draw the viewer into its unearthly,
deadly, and profoundly sensual world and immerse him in its beauty, its mystery,
and its brutality.

The performances of the various members of the cast greatly contribute to this
emotive impact achieved by The Vampire Lovers. Pitt brings to her role a
sophisticated but desperate salacity and makes the viewer feel that he is
watching some ancient, lethal power that, though alienated from mankind, is
desirous of forging connections with the young women it encounters. Madeline
Smith and Pippa Steel, who play these women, may be the least accomplished
performers in the film, but both, especially the former, do infuse their
characters with an innocent, youthful carnality and with a sense of that
wondrous excitement felt by persons discovering their own sexuality and
anticipating their first sexual experiences. Even Peter Cushing, though he plays
only a small part in the movie, is able to make the viewer aware both of General
von Spielsdorf's love for his daughter and of the character's determination to
avenge her death.

Not only is much of the acting surprisingly good, The Vampire Lovers is also,
for the most part, a genuinely well made film. The sets and costumes used are
all beautiful and successfully evoke another era. The special effects, if never
impressive, are usually effectively employed, and the script, if not poetic, is
well crafted. Occasionally, the movie's production values are not of the highest
quality and the lines spoken by the actors are, at times, clichéd, but such
faults are relatively rare and do little to decrease the film's enjoyableness.

While it is hardly a great movie, The Vampire Lovers is consistently well made,
evocative, and engaging. It is one of the best horror films I have seen.


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