Vampyros Lesbos (1971)

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The acting in this movie is really good.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

A West German/Spanish co-production set in Turkey starring a cast from all over Europe and directed by sleazy exploitation legend Jess Franco: it's no wonder that Vampyros Lesbos is a bit all over the place at times, with a disjointed narrative and the director's haphazard visual trademarks—rapid zooms, out of focus close-ups and random imagery—very much in evidence.But whereas Franco's 'distinctive' style has frequently had me struggling to stay awake in the past, in this instance it proves surprisingly beguiling—an irresistibly bizarre, hypnotic, exotic, erotic slice of 70s psychedelia, its zonked-out art-house ambiance heightened by an incredibly trippy score, a remarkably effective fusion of prog rock, sitar, jazz flute, organ and incomprehensible Satanic vocals.Of course, it doesn't hurt much either that the film's two female stars—Soledad Miranda and Ewa Strömberg—are absolutely ravishing and frequently disrobe to indulge in a spot of soft-core Sapphic love-making. Should you tire of the bonkers surreal nature of the film, the quality T&A should see you comfortably though to the end.

One of Jess Franco's most famous works, "Vampyros Lesbos" is also one of the most distinctive and fresh low-budget horror films that sprung in Europe during the early 70's. While it is a flawed affair, particularly as far as substance is concerned, it's style is so unique and otherworldly, that it's guaranteed to haunt and entice you for a long time after you watched. Adopting a stream-of-consciousness narrative, the film takes you into a feverish daydream (literally, as there are no night scenes in this one), loosely adapted from Bram Stoker's novel "Dracula", exploring the world of fetishes and sexual fantasies, through breathtaking psychedelic imagery of eroticized violence and exotic locales, as well as one hell of a groovy, nostalgic score by Manfred Hubler and Siegfried Schwab. Of course, the film wouldn't been nearly as memorable without the casting of Soledad Miranda in the role of Countess Narody - quite possibly the sexiest vampiress to have ever graced the silver screen, with her unforgettable exotic beauty and bone-chilling screen presence. Overall, an excellent little psychedelic gem, that even if bothers some viewers with it's strange appeal, is a must see if only to be entranced by Miss Miranda.

"Vampiros Lesbos" (aka. "Vampyros Lesbos"/"Lesbian Vampires") of 1971 is probably the most famous film by Spanish exploitation-mastermind Jess Franco. Franco's amazing repertoire of over 180 films includes masterpieces ("The Diabolical Dr. Z", "The Awful Dr. Orloff", "Venus In Furs"...) as well as crap ("Sadomania",...). I personally am a great fan of the man, especially of his early work. While "Vampiros Lesbos" is not one of his greatest films, it is certainly up there among his memorable ones, both for its cult-value as one of the essential Lesbian Vampire flicks of the 70s and for its surreal atmosphere. And, most memorably, for the stunningly beautiful Soledad Miranda, in one of her last roles before she tragically died in a car-accident at only 27. This is not only Jess Franco's most widely known film, but also the most famous specimen of the Lesbian Vampire sub-genre. It is not nearly the greatest Lesbian Vampire flick - this title doubtlessly goes to Harry Kümel's "Les Lèvres Rouges" ("Daughters Of Darkness") from the same year, followed by José Ramon Larraz' "Vampyres" of 1974. These two titles, however, moved slightly outside the routine of this sub-genre of European Exploitation cinema, however, since they did not merely focus on sleaze, lesbianism and female nudity, but also on suspense and style. In the case of "Vampiros Lesbos", the LESBOS is definitely the capitalized part of the title as this film focuses almost only on the sleaze, leaving hardly any room for storyline and suspense. It does so with a lot of style, however. "Vampiros Lesbos" bears many resemblances to Franco's own (and vastly superior) "Venus In Furs" of 1969 (The Turkish setting, the lesbianism, the surrealism and artistic elements,...). While it does not reach the greatness of the aforementioned film, this is also delightfully bizarre, as it should be appreciated by cult-cinema fans.The plot is, of course, secondary. Linda Westinghouse (Ewa Strömberg), a foxy blonde female lawyer, has recurring dreams of lesbian experiences with a mysterious beauty (Soledad Miranda)... As said, Miss Miranda is doubtlessly the greatest quality of the film. The other female cast members are also beautiful and (as usual for Franco films) extremely exhibitionist, but Soledad Miranda is simply too beautiful to be true. Sexy, seductive and dangerous, Miranda fits perfectly in the role of the lesbian Vampire countess. It is tragic how this beautiful actress died so early. She would have certainly continued to be one of the most memorable (and most beautiful) faces in European cult-cinema. The cast also includes Horror/Exploitation regulars Paul Mueller ("Nightmare Castle") and Dennis Price ("Theater of Blood", "Twins Of Evil") as well as a typically demented cameo by Director Franco himself. The film maintains a bizarre and very elegant style, and delivers all the sleaze one could desire. The memorable psychedelic score increases the stylish atmosphere, and tons of female nudity and lesbianism make a quite a convincing excuse for a confused and very flat plot. I don't suppose that anyone is going to watch a film called "Lesbian Vampires" expecting a compelling storyline or incomparable suspense, however. Therefore, I recommend to expect what is to be expected - watch this film for stylish sleaze and, especially, for Soledad Miranda and have a blast!

"The Queen of the Night will bear you up on her dark wings."I guess you can look at "Vampyros lesbos" as director Jesús Franco's 70's modern variation on Bram Stoker's Dracula using Soledad Miranda as the seductive female lesbian vampire who took lessons from her master(..that being Count Dracula)in capturing victims through a form of hypnotic lust, invading women through their dreams. You could say that Ewa Strömberg's Linda, an agent whose firm, Simpson & Simpson, is handling Dracula's will which would entitle that his inheritance of the Kadidados islands(..and everything on it) be left to her, is Mina, the object for which Carody desires to "initiate into her inner circle." Andrés Monales, as Linda's lover Omar, would be the Jonathan Harker, the one who stands between Carody and her paramour. There really isn't a strong candidate for Van Helsing..it seems like Dennis Price, as scientist Dr. Alwin Seward, who runs a clinic and studies vampirism, would be, but he harbours a desire to be a vampire himself so he could obtain supernatural powers. Within Seward's clinic is Agra(Heidrun Kussin), who is the Renfield of the film, except instead of madness, she's more overcome by a state of constant orgasm, wantonly desiring to return to Carody, locked up in Seward's clinic. Her husband is Memmet(..portrayed by the director in one of his typically bizarre roles), who works at a hotel which charters a small boat to ferry people to Carody's island. Memmet is actually a psychotic torturer(..who likes to sucker females into the hotel wine cellar where he binds them before the nasty business) whose madness derives from the fact that Carody "changed" his wife into a lunatic only yearning for her touch. Paul Muller is given, frankly, a thankless role as Linda's psychiatrist who believes her rantings of being haunted by fantasies of Carody is merely bad sex. Carody's relationship to Dracula, subtly mentioned here and there in the film, comes from an incident near a castle she lived overcome by depravity and violence. Men were ravaging the village women, attempting to rape her(..this also provides the emphasis on why she hates men), dragging her from her castle..Dracula killing the man on top of her, subsequently "adopting" Carody into his family. Carody mentions how she was the woman who made his life worth living and that he always desired her body, taking just enough blood he needed to survive finally turning her into a vampire. The Turkish locations are definitely highlighted in this film as Franco's camera embraces various aspects of his setting. But, the pleasure for me is Soledad Miranda. The many ways Franco shoots her, the character is all hers. Of her short few lead roles, I think this, "She Killed in Ecstasy" & "Eugenie de Sade" each display her hold on the viewer. Whether it be her very unusual stage act where she dresses a "human mannequin" for an audience before biting her assistant's neck, the way her face is lit, or the abstract camera angles;it seems Franco wants you to see her as a very special creature, not meant for our world. Whether she's naked, in a bikini, or wearing lingerie on stage, Miranda is a showcase for our viewing pleasure. She's a dark-eyed goddess to me, a portrait on celluloid. I would definitely say Miranda's iconic accessory for this particular film is her red scarf. It's around her neck almost always. José Martínez Blanco is Carody's henchman Morpho, with dead eyes which stare right through you. The score only heightens the otherworldly nature Franco's direction brings to this fantasy. It's a vampire film, but I felt it embraces the erotic side rather than the violence often elaborated in Dracula adaptations. Sure, Carody's bites, but I think this is more about her seduction and entrapment over female victims she desires than the relishing bite on the jugular for flowing blood. I think the ultimate nourishment for a vampire like Carody is capturing the heart and soul of her victim, not their lifeforce.