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My Son The Vampire The legendary Bela Lugosi as "the Vampire"
teams up with Britain's much-loved "Mother Riley" in this
hilarious comedy adventure. The Vampire plans to control the world
with the help of his robot, which accidentally gets shipped to Mother
Riley. Through radar control, he contacts the robot and orders it
to come to him, bringing along Mother Riley! But his life is turned
upside down when he holds this most meddling of mothers captive.
"My Son the Vampire" is the last of the Mother Riley
film series (1937-1952), lighthearted, immensely popular British
comedies that featured the slapstick antics of Arthur Lucan as an
Irish scullery maid who gets herself into all sorts of tough spots.
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Mark of the Vampire
Delightful, intriguing tale of vampires terrorizing rural village;
inspector Atwill, vampire expert Barrymore investigate. Beautifully
done, with an incredible ending. Remake of Browning's silent LONDON
AFTER MIDNIGHT. |
Nadja
Cleverly amusing vampire movie with the vampirish title character
(perfectly played by Lowensohn) stalking the streets and late-night
clubs of Manhattan's East Village. Fonda is a hoot as "Dr. Van
Helsing,'' who has murdered Nadja's father and now is after her and
her twin brother. Most enjoyable, but the stylish visuals sometimes
swallow up the story. Filmed in black-and-white, in part using a plastic
toy Pixelvision video camera! Executive produced by David Lynch, who
appears as a morgue attendant. |
Nightwing
An Indian tribal deputy faces a dark, menacing terror as he sets out
to destroy a huge flock of vampire bats. In order to do so, he must
enter the very cave in which they live. |
Nosferatu "... this first important film of the vampire genre
has more spectral atmosphere, more ingenuity, and more imaginative
ghoulish ghastliness than any of its successors." Some really good
vampire movies have been made since Kael wrote those words, but German
director F.W. Murnau's 1922 version remains a definitive adaptation
of Bram Stoker's Dracula. Created when German silent films were at
the forefront of visual technique and experimentation, Murnau's classic
is remarkable for its creation of mood and setting, and for the unforgettably
creepy performance of Max Schreck as Count Orlok, a.k.a. the blood-sucking
predator Nosferatu. With his rodent-like features and long, bony-fingered
hands, Schreck's vampire is an icon of screen horror, bringing pestilence
and death to the town of Bremen in 1838. (These changes of story detail
were made necessary when Murnau could not secure a copyright agreement
with Stoker's estate.) Using negative film, double-exposures, and
a variety of other in-camera special effects, Murnau created a vampire
classic that still holds a powerful influence on the horror genre.
(Werner Herzog's 1978 film Nosferatu the Vampyre is both a remake
and a tribute, and Francis Coppola adopted many of Murnau's visual
techniques for Bram Stoker's Dracula.) Seen today, Murnau's film is
more of a fascinating curiosity, but its frightening images remain
effectively eerie. |
Nosferatu - The Vampyre Werner Herzog's remake of F.W. Murnau's
original vampire classic (see above) is at once a generous tribute
to the great German director and a distinctly unique vision by one
of cinema's most idiosyncratic filmmakers. Though Murnau's Nosferatu
was actually an unauthorized adaptation of Bram Stoker's Dracula,
Herzog based his film largely on Murnau's conceptions--at times directly
quoting Murnau's images--but manages to slip in a few references to
Tod Browning's famous version (at one point the vampire comments on
the howling wolves: "Listen, the children of the night make their
music."). Longtime Herzog star Klaus Kinski is both hideous and melancholy
as Nosferatu (renamed Count Dracula in the English language version).
As in Murnau's film, he's a veritable gargoyle with his bald pate
and sunken eyes, and his talon-like fingernails and two snaggly fangs
give him a distinctly feral quality. But Kinski's haunting eyes also
communicate a gloomy loneliness--the curse of his undead immortality--and
his yearning for Lucy (Isabelle Adjani) becomes a melancholy desire
for love. Bruno Ganz's sincere but foolish Jonathan is doomed to the
vampire's will and his wife, Lucy, a holy innocent whose deathly pallor
and nocturnal visions link her with the ghoulish Nosferatu, becomes
the only hope against the monster's plague-like curse. Herzog's dreamy,
delicate images and languid pacing create a stunningly beautiful film
of otherworldly mood, a faithful reinterpretation that by the conclusion
has been shaped into a quintessentially Herzog vision. |
Nosferatu
Phantomder Nacht/German
Herzog shot the English and German language versions simultaneously,
the actors performing the spoken scenes separately for each language,
and Herzog edited them individually, resulting in slight differences
in pacing and performance. The films both run about 107 minutes. |
Once Bitten
Lauren Hutton stars as a glamourous vampire out for virgin blood among
high-schoolers in this teen comedy. Jim Carrey plays the inexperienced
teenager who will be bitten by the sexy creature of the night -- unless
he can seduce his reluctant girlfriend and lose his virginity... fast!
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