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Okay, 1974′s VAMPYRES admittedly has numerous nude scenes–full frontal female nude scenes, in some cases–that was a prerequisite for the sexploitation panic pouring out of Europe in the 1970s. And yes, the two female players have hourglass figures, vast bosoms, and magnificent faces. However, this British indie film, directed by Spanish auteur José Ramón Larraz, has a cinematic lovely that makes it stand out above its contemporaries as a fright film of right quality. Larraz does a amazing job of directing, working in stop conjunction with cinematographer Harry Waxman to ensure that nearly every shot of every scene is a balanced, well-framed image. In keeping with the spooky atmosphere of the moldering English manor house and surrounding grounds feeble for state shooting, production designer Ken Bridgeman maintains the perfect ambiance throughout. And unlike many other buxom sexploitation actresses of the era, erotic stars Marianne Morris and Anulka (Dziubinska) can actually act, and they do a suited job in making the eponymous characters both scary and sympathetic.
In addition to the outstanding efforts of cast and crew, the tight, well-written script is refreshingly new–even from this vantage point of some thirty years hence. Avoiding the usual vampire clichés, these VAMPYRES are really more like ghosts who have some inexplicable but insatiable desire to feed on the blood of the living. They don’t have fangs, they can tolerate moderate sunlight, and instead of resting in old traditional caskets, they sleep in a wine cellar during the brightest of the daylight hours. They also can eat, drink liquids other than blood, and seem to genuinely be pleased sex. And they even sometimes have sympathy for their victims, a characteristic that may lead to their ultimate downfall.
The record of the vampire has always been regarded as sexual in nature, especially the intimacy of the flesh-penetrating bite on the neck. VAMPYRES carries this metaphor to the low, with heterosexual vampiric coitus portrayed as an intensely passionate, rigorous event that includes feasting on the blood of the non-vampiric partner. And the eponymous characters in VAMPYRES don’t gently suck from two pricks in the neck; in the midst of sexual passion, they waddle initiate their victims and lap up the crimson liquid with ferocious, writhing pleasure.
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In short, VAMPYRES is an safe British erotic fright flick that is splendid to most others from its era of origin, and it can even stand up against many straightforward, non-sexploitation alarm films. It is well written, well acted, and has high production values throughout–and all this in spite of a improper, indecent budget. Director Larraz and his co-scripters have hold an belief that they could play for camp or sheer sexploitation and, instead, yell a thought-provoking study at indiscriminate and promiscuous sex, physical obsession, and guilt. And on top of that, they smooth throw in lots of palatable T&A.
The DVD from Blue Underground is a mountainous steal. Not only does it note a widescreen restored director’s version of this valid film–transferred primarily from the fresh negatives–but it also has lots of frosty extras. It offers a feature-commentary track with director José Ramón Larraz and producer Brian Smedley-Aston that is both hilarious–due to Larraz’s frank expend of English colloquialisms–and informative. And there are also new interviews with Marianne Morris and Anulka Dziubinska, the film’s elegant stars; a lost scene recreated via production stills; U.S. and European trailers; and more. This is a allotment of erotic artistic cinematic history that any serious dread fans will want to add to their collections.
A pair of bisexual women (Marianne Morris and Playboy playmate Anulka) living in a dismal, decaying mansion have a craving for blood and sex. Hitchiking in long gloomy cloaks, they lure men home and then choose them to bed, gash them with knives, and dump the bodies, making it notice like a car fracture. They like one guy so considerable they preserve him around for days and he knows something terrible is happening, but he’s not definite what. Some people camping nearby also suspect that the women are up to queer things…. The violence is strong even though there’s more blood than gore, plenty of sex and nudity, and some very lyrical, magnificent scenes. The ending throws a whole unusual, darker twist on the proceedings and ties it all together nicely. It has kind of a “Hammer Films” search for to it, but the storyline is more along the lines of Jean Rollin. Even though the budget was slight, this is a quality-looking film. The DVD looks tall and contains a commentary track with producer Brian Smedley-Aston and director Joseph Larraz that’s worth listening to – it’s informative, and Larraz is hilarious and pulls no punches – ya gotta care for the guy, even though he admits he’s become a dirty musty man (the comment during one of Anulka’s nude scenes had me rolling on the floor) . 
It’s one of the most appealing commentary tracks I’ve heard on a DVD, and a quality film besides.
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