The early sixties were an interesting period for horror movies. Fun as they were, atomic horror yarns were mostly gone from the scene. A new era of gothic scares filled the screens. AIP were doing literate adaptations of Poe stories, Hammer Studios unleashed lurid, colorful remakes of Universal classics, but I think the most fascinating genre films of the period came from Italy.
There was the godfather of Italian horror, Mario Bava. Ricardo Freda dabbled in the field. The Giallo boom was just ahead in 1960 when director Renato Polselli made The Vampire and the Ballerina.
As much as I would have liked to see it, I doubt I would have bought The Vampire and the Ballerina if I had to pay full price. I certainly wouldn't pay collector prices for the OOP Scream Factory blu-ray. God love the library sales. I nabbed a mint copy for a buck-and-a-half last week.
I consulted John Stanley's essential Creature Feature Movie Guide before watching the film. Stanley is generally on the mark, but he unfairly dismisses The Vampire and the Ballerina as "quaint". He claims there is little horror and a lot of filler in the movie. I could not disagree more.
The Vampire and the Ballerina is a marvelous chiller that ranks with the work of Bava. It's an atmospheric movie, stylish and lovely to behold.
A modern-day dance academy is terrorized by mysterious murders. When a group gets lost on a forest picnic, they discover an old mansion. Thinking it deserted they decide to hide from a storm and spend the night. A countess and her manservant reside in the manor and, unsurprisingly, are ancient vampires.
The Vampire and the Ballerina hits all the vampire folklore cliches. The picture succeeds with the photography and the black and white cinematography. This is as good an example of how how effective B&W movies can be. The whole thing looks great, but the exterior night scenes are breathtaking. Artistic use of light and shadow create an eerie chiaroscuto dreamscape.
The budget was undoubtedly low, and the vampire masks look a little cheap and corny. At least when seen in bright light. When glimpsed in scenes of semidarkness they are unnerving.
I'm a little surprised The Vampire and the Ballerina isn't talked about more. It may not be in the league of Black Sunday, but it is a smart, scary, effective little thriller that almost certainly inspired Blood and Black Lace and Susperia.
Written by Mark Sieber
There was the godfather of Italian horror, Mario Bava. Ricardo Freda dabbled in the field. The Giallo boom was just ahead in 1960 when director Renato Polselli made The Vampire and the Ballerina.
As much as I would have liked to see it, I doubt I would have bought The Vampire and the Ballerina if I had to pay full price. I certainly wouldn't pay collector prices for the OOP Scream Factory blu-ray. God love the library sales. I nabbed a mint copy for a buck-and-a-half last week.I consulted John Stanley's essential Creature Feature Movie Guide before watching the film. Stanley is generally on the mark, but he unfairly dismisses The Vampire and the Ballerina as "quaint". He claims there is little horror and a lot of filler in the movie. I could not disagree more.
The Vampire and the Ballerina is a marvelous chiller that ranks with the work of Bava. It's an atmospheric movie, stylish and lovely to behold.
A modern-day dance academy is terrorized by mysterious murders. When a group gets lost on a forest picnic, they discover an old mansion. Thinking it deserted they decide to hide from a storm and spend the night. A countess and her manservant reside in the manor and, unsurprisingly, are ancient vampires.
The Vampire and the Ballerina hits all the vampire folklore cliches. The picture succeeds with the photography and the black and white cinematography. This is as good an example of how how effective B&W movies can be. The whole thing looks great, but the exterior night scenes are breathtaking. Artistic use of light and shadow create an eerie chiaroscuto dreamscape.
The budget was undoubtedly low, and the vampire masks look a little cheap and corny. At least when seen in bright light. When glimpsed in scenes of semidarkness they are unnerving.
I'm a little surprised The Vampire and the Ballerina isn't talked about more. It may not be in the league of Black Sunday, but it is a smart, scary, effective little thriller that almost certainly inspired Blood and Black Lace and Susperia.
Written by Mark Sieber
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