There's more to it than just the erotic stuff though - Ingrid Pitt and Peter Cushing are in commanding form; Tudor Gates's screenplay is pretty good; and there are some gruesome moments - including several decapitations - to satisfy gore-hounds. Elusive vampiress Carmilla also known as Mircalla and Marcilla - and played by the luscious Ingrid Pitt escapes death at the hands of an Austrian vampire hunter. Carmilla fakes an accident to win the sympathy of the Morton family - nearby aristocrats - and soon she has been taken into their noble household. One thing to which Carmilla is quite partial is the blood of female victims, and pretty soon she has befriended Emma Morton Madeline Smith , whom she hopes to entice into a lesbian love affair before vampirising her.
However, Emma's father Roger George Cole and his friend Von Spielsdorf Peter Cushing realize that something isn't quite right and eventually uncover Carmilla's sinister secret. The film is handsomely photographed and nicely directed by Hammer veteran Roy Ward Baker. There's not much here to distinguish this one from all the other Hammer horrors, other than the stronger-than-usual sexuality.
However, fans of the Hammer style films will not mind that, as the "sameness" of the studio's films quite often adds to their charm. I can't really bring myself to recommend this film whole-heartedly. Let's just say that if you like Hammer's period horror films - or if you're a fan of Pitt or Cushing - you'll find plenty to enjoy here. Coventry 26 November Where would the horror field be if it weren't for the legendary Hammer Studios?
With their constant creativity and new variations on the general topic of vampirism they delivered some of the most important genre-films ever. Roy Ward Baker's film the Vampire Lovers is one of the most essential movies Hammer ever released and it meant a landmark turning point for the sub-genre of bloodsuckers. Due to THIS film, vampirism afterwards always got immediately associated with eroticism and lust.
But this is the real thing! Ingrid Pitt plays the best, most memorable role of her career as the gypsy vampire Carmilla. Her sensual character seduces attractive young girls at the homes of prominent men where she's at guest and turns them into weak, lifeless slaves. The worried men have to uncover the origin of this vampire wench in order to destroy her forever. Mostly thanks to the female cast led by Ingrid Pitt, this is the most bewitching horror tale Hammer ever told.
And that's not a sexist remark; it just needs to be said. Other than the charismatic female appearances, this production also depends a lot on the eerie set pieces and the nightmarishly dark images of graveyards, ruins and castles. Overall, a splendid horror film and a must see for all fans of Hammer, vampirism or gorgeous beauties. Forester-2 26 September An ocean of mist hangs above a grave. A figure enveloped in a white shroud swirls through that mist with balletic grace, then rakes a hand across a bloody mouth.
The call echoes through the empty chambers of the house and down the terrace outside, where the wind blows fallen leaves through the autumn night. The calls merge with older echoes in a cemetery beneath a ruined castle. A woman walks in those mists, clad in her nightgown. The mists dissolve her from sight. Yes, of course, a lesbian vampire movie made by men may seem the height of sexism, and at a conceptual level the movie may be open to those charges. But a female gothic artist was involved here: Ingrid Pitt, whose Carmilla is such a vivid presence as to render herself the character we root for and her patriachal enemies as the true pale-faced monsters Has Peter Cushing ever come across as less loveable?
Other screen vampiresses are bimbos or boogeywomen or upmarket fashion plates by comparison: Pitt is tigerish, witty, tender, passionate, vulnerable, savage and tragic: Perhaps the only actor, male or female, who has brought to full life all the complexities of the vampire psyche. She's great and the other film-makers, at their best, rise to the challenge she sets.
The movie is hardly unflawed but when its accidental poetry gels, few movies in its genre can surpass it. This film gets a lot of ribbing for the casual nudity that bedecks it. Not fair. This film is in many ways another Hammer classic with its good solid acting, its lush photography and costuming, and general sense of horror. It is based in part on Sheridan Le Fanu's classic female vampire story Carmilla about a young girl that befriends other young girls only to vampirize them.
Ingrid Pitt plays the toothy and toothsome vampire wench in all her busty splendour. She is magnificent on the screen and oozes sex appeal. Yes, she goes topless as do her female co-stars The rest of the cast is good with Peter Cushing as a general in a small role and Harvey Hall as a servant standing out. The best part of the film for me is the eerie graveyard of the Castle Karnstein that we are introduced to in the prologue and again visited to in the epilogue. It really sets the mood of the story and was a pretty inspired rendition of the Carmilla tale.
In Styria, Austria, General von Spielsdorf Peter Cushing gives a party and a countess explains to him that she needs to travel immediately to visit a relative that is ill. She leaves her daughter Marcilla Ingrid Pitt under the care of the General. Marcilla befriends his daughter Laura Pippa Steele and then the teenager has nightmares, where she is attacked by a dreadful creature. The doctor finds that Laura is anemic and soon she dies. Marcilla leaves the house and the countess fakes a carriage accident to leave Marcilla, now known as Carmilla, with the wealthy Mr.
Roger Morton George Cole. Camilla befriends Emma Morton Madeline Smith and soon she starts having nightmares. Morton travels and the butler Renton Harvey Hall and the doctor suspect that Madame Perrodot might be a vampire but they do not suspect of Carmilla. Will Emma be saved from Carmilla? In , lesbianism was not a usual theme and a lesbian vampire was a novelty. This is the first time that I see a vampire associated to a shroud. The plot explores the sensuality of Ingrid Pitt and her female victims but is never sexploitation.
My vote is seven. Certainly a movie one would use the word "good" for rather than "great", but this movie does contain flashes of the unique attributes that made Hammer such a winner in the first place but which had been largely forgotten by the company in its rush to replicate the success of "One Million Years B. Ingrid Pitt is probably the film's greatest asset, along with the very well done sets and art design in general. Pitt plays a vampire lesbian who uses various forms of deception to seduce the daughters of England's upper crust.
She comes off great in the role of seductress and is just barely convincing enough as the "innocent" her character pretends to be. Cushing makes only 2 brief appearances, not making much of an impression but he's given very little to work with here in a role that just about anyone could have played. Memorable, not as good as Hammer's best vampire film "Dracula" aka "Horror of Dracula", US but definately one of its better, if not its best, films of the 70s. I tend to like the classic horror films of Hammer, Universal, and American International, and "Vampire Lovers" is an esteemed favorite.
There are many elements skillfully blended in this fine production, but the central appeal is Ingrid Pitt who breathes passionate, undead life into her role. Her impressive acting ability is matched by her smoldering screen presence and beauty. She is perfectly cast in this role. Wow, did the people who made this movie ever know what they were doing. The costumery, the lighting and photography, the staging, the acting and direction, all combine seamlessly for a stunning spectacle to be savored over and over again.
This is the movie that single-handedly minted the "lesbian vampire" as a major cinematic motif, and set the standard for comparison that later entries in this genre would forever be judged by. I doubt we would ever have had such films as "Vampyres," "Vampyros Lesbos" or various Jean Rollin movies not to mention Hammer's other Karnstein trilogy entries without this film. And this movie could never have been as good without Ingrid Pitt. Her command of acting nuance is really something. Check out her facial expression when she's in the broken-down coach and Laura, all excited, tells her: "You're to stay with us!
Having heard about this film since I was a boy reading "Castle of Frankenstein" magazine, I was well aware that more adult themes are included in this film than in the average Hammer vampire movie. And it still does have the power to shock today's audiences. I still wonder whether the "lovers" of the title are vampires or the mortals who love them?
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The question remains unanswered in my mind. It's not news that "The Vampire Lovers" was based on Sheridan Le Fanu's novella, Carmella, and expounded on his original undercurrents of lesbianism and the eroticism often connected to vampire folklore. Apparently plenty of English Aristocracy easily throw open their doors for the likes of lovely, if somewhat distant, mystery ladies who make themselves right at home.
Then beautiful vampire Pitt ingratiates herself with any virginal young lady in the household in order to slowly drain the blood from her body by biting her on the breast. This is all pretty standard Hammer fare, but now served with a steaming hot portion of female skin and eroticism. Lovely and iconic cult figure Ingrid Pitt dominates the film, and she's fascinating to watch. All the women concerned are lovely to look at, and the proceedings move along at a nice pace, aided by colorful and atmospheric sets and locales.
Based on J. Ingrid Pitt plays Mircalla with great restraint; her character comes off cold and deceptive, but still driven by a need for love. The action is well timed and choreographed, and the nudity, though a bit gratutious at times, is photographed sensitively and with great appreciation for the actresses. Didn't do too much for me Wizard-8 19 February I see here that the majority of user comments for this movie are pretty positive, so it does seem that most people who will watch this movie will like it.
But to be honest, I was kind of disappointed by "The Vampire Lovers". Let me make it clear that I didn't find it aggressively awful or even merely bad - I just thought that it was kind of mediocre. The main problem I had with it was the one-two punch of it being slow-moving and not much plot in the end. I grew kind of restless despite the occasional erotic or horrific elements inserted in to liven things up. Also disappointing was that Peter Cushing didn't have as much to do here as in other Hammer movies he worked on - he's offscreen for long periods of time.
To its credit, the movie does have good production values, and does have some atmosphere erotic or horrific throughout. Then, there are sightings of a vicious creature that has been plaguing the town and causing people to disappear. But where did the creature come from, and are Tom and Amelia safe in their mansion on the outskirts of town? Please enjoy several short stories as bonus by various authors after the main story!nibatsconstgewix.cf/sexy-suitors-from-space-scifi-alien-erotica.php
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All types of burning hot tales for your enjoyment. They will heat you up! Kindle Buy Link. Book One: Keely was used to fighting to survive. It was the only way to live in the ruined and ravaged remains of humanity. Never in her wildest dreams did she really believe that vampires were real.
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At least until the night she was abducted. Taken and held captive with four other women, they quickly learn the reason for their abduction. Due to a genetic fluke, their blood contains the v factor… And the vampires want them to repopulate their world. Expected to participate in a market and pick a mate, Keely is floored by her attraction to the sexy vampire that guards her. How can any female choose?
Book Two: Abducted by the vampires, Keely has been taken to their foreign world as their concubine. Expected to select a mate from the horde, she attracts the attentions of a dangerous male vampire… while her lover stands by, helpless to stop it. She quickly realizes that Kosmas is determined to have her, whether she wants it or not.
With one ruthless revelation, Kosmas determines her fate… and her surrender. Book Three: Two alpha vampires, both determined to have her. One of them will resort to anything, even if it means death. Keely is slowly adapting to Legionnaire — the planet of the vampires. Now taken as a royal concubine, her resistance to Kosmas is starting to slip.
Brutally taken by rival vampires, Zander is desperate to escape.
The clock is ticking, and Kosmas is out to seduce the red-haired concubine. Book Four: Originally from Earth, Keely learned to be tough surviving in the ravaged remains of society. Her strength paid off when she was abducted from her world with four other women and delivered into Legionnaire — a planet full of vampires desperate to breed. Keely is a survivor, and a survivor will do whatever it takes to live. Only one thing is certain… neither vampire will share her, even if it means that one of them must die. Book Six: Keely has found happiness as mate to the most powerful alpha vampire on Legionnaire… or so she thinks.
When the latest shipment of concubines are unloaded, though, her entire world is shattered as someone unexpected is revealed. Will the magic of Christmas be enough to heal her broken heart? And when he sees the Asian concubine that refuses to accept her fate, something inside of him snaps.
The vampire he once was is gone, and in his place stands a cold and deadly male that is determined to get the sexual satisfaction he craves… no matter what.
I then asked Alexis if he could pull together something. I might have mentioned the number Chaneling Morpheus by Jordan Castillo Price. Sexy, edgy, full of very human monsters. Off Campus by Amy Jo Cousins. Beautiful writing, intricate characterisation, deep, compassionate story-telling. This book kicks off one of my favourite NA series. This book is insanely happy-making.
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A coming of age story, a poignant romance and a shameless celebration of complete and joyous nerdery. The Reluctant Berserker by Alex Beecroft. An exquisitely written and slow-burning love story set in Saxon England. Meticulously researched, with a side order of deconstructed masculinity. Treasure by Rebekah Weatherspoon. Very sweet and sexy NA about two very different young women finding each other and finding themselves.
The Rifter by Ginn Hale.
Epically imaginative and breathtakingly brilliant. Mark of Cain by Kate Sherwood. An Anglican priest slowly begins to fall for the man who murdered his brother: an ambitious and complex story of guilt and redemption, love and faith. Pearl by Kelly Rand. A coming of age story set in the s about a small town girl and the transman who opens her eyes to a world of hope and possibility.
Evocative, gorgeous, exquisite. Sutphin Boulevard by Santino Hassell. Gritty, real, and unexpectedly romantic. Adaptation by Malinda Lo. So … kind of like the X-files if the X-files was YA, had a gloriously diverse cast and involved a bisexual love triangle. Santuario by GB Gordon. A sci-fi western: excellent world-building, intricate plotting and a subtle, slow burning romance. Unusual and haunting and special. A lesbian gothic horror set in 19th century New York City. The book is dedicated to women who are unafraid to be both the heroes and the villains.
There are fights. Top hats are worn. However, this is genuinely lovely. Megan Mulry, err, does it all in this exuberant pansexual, polyamorous Regency romp. Trust the Focus by Megan Erickson. Two young men, a road trip. Grief and truth, love and friendship, external and internal journeys. Hammer and Bone by Kirby Crow. But they are brilliant and I am evangelical about them. Read them slowly. Savour them. Praise the lord for a sex worker who is not required to be redeemed from their job by love. Beautifully done. The Devil Lancer by Astrid Amara.
A paranormal—historical about the Crimean War. Bleak, powerful and vivid.
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