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Load of rubbish!!

Admirable film.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

At a finishing school for girls in 1830 Austria, one of the students goes missing; the administration is in a quandary, not knowing that another beauty from the village was recently murdered and her virginal blood was used to reincarnate Carmilla, a female vampire of the devilish Karnstein family, who arrives at the school under the guise of a new student. Screenwriter Tudor Gates (again mining Joseph Sheridan Le Fanuand's novella "Carmilla" for inspiration) and producers Michael Style and Harry Fine all return from 1970's adequate Hammer horror "The Vampire Lovers", but results are tepid this time. With new restraints handed down by the British censors, the team has scaled back on the lesbian overtures predominant in their previous film. Worse, the bloodsucker action also seems toned down in favor of a corny star-crossed romance between the vampire-heroine and a handsome human, an author and Royal heir who falls hard for the blonde beauty (they have sex in a grassy field to the strains of a pop love ballad!). Under these conditions, crack horror director Jimmy Sangster (filling in at the eleventh hour for an ailing Terence Fisher) might be excused for his flaccid handling--and yet, amazingly, there is not one drop of suspense in this scenario. Sangster is probably responsible for the picture's strongest sequence, with smitten school co-founder Ralph Bates groveling at the feet of the new Carmilla/Mircalla (Yutte Stensgaard), though this scene, too, finishes poorly. Strong-jawed Michael Johnson positively eats his heart out after making love with the girl and finding himself rebuffed the next day, while a police inspector is killed while sniffing around and nothing is mentioned of him again. The writer and producers tried their luck a third time later the same year with "Twins of Evil", the final chapter of the Karnstein Trilogy. * from ****

Arriving in a small countryside village, a novelist fascinated by the local legends begins working at the nearby boarding school finds the other students mysteriously disappearing after a new student arrives and ties it to the local legends forcing him to put an end to their plans.There's a couple of good moments in here, and some really troublesome parts as well. One of the big reasons is that the decision to retain the period Gothic setting is admirable for a late-period Hammer title. The eerie opening, when an abducted village woman is abducted and taken to the castle, has two vampires slice her throat and the blood drips all over a white shroud the covers a corpse in a coffin, not only gives this an impressionable opening but also provides the kind of occult Gothic ritual within the huge elaborate castle which is exceptionally enjoyable. Due to the main vampire running loose in the school under the guise of the students provides this one with some fine sequences that explore this fuller, from the troop going through the ruins of the castle to the scenes of them going off into the night meeting with the vampire unexpectedly biting them. That also means it doesn't miss one possible shot of nudity, especially in the first half hour of the film. The nudity is very tastefully done and isn't at all gratuitous, from the skinny-dipping sequence to the seduction of the other women and the immeasurable amount of topless groping between the girls that occurs here. These measures are done in conjunction with the Gothic flavor, as it adds leaps and bounds to the sensuality of the film featuring both the classy tone as well as the fine nudity. The other big factor for this one is the stellar Gothic ending, which is the grand siege at the castle towards the end has a lot of action with the grandstanding nature of the villagers and the battles with the servants and villagers leading into a series of fire-filled traps alongside the traditional burning-down-the-castle action and some stellar gore thrown in. These make it a pretty decent effort of the genre, but there are some really off moments here as well. The pace here is really the biggest factor since there are a lot of scenes that go on and just stretch out the film without really doing anything. The middle section of the film dealing with the staff and faculty of the school are just long, pointless talk scenes that don't really go nowhere as are the pointless interludes showing him teaching the students which aren't needed due to already knowing the secret identity. It constantly keeps going through those sequences where it feels like something's going to happen only for the conversation parts to continue and that makes it very aggravating. That also limits the action in the film, and other than the beginning and the end as there isn't much of that in the film. Beyond those two elements, the biggest factor against this is the utter cluelessness towards the identity as this one has her have to kill off several individuals who know her secret which obviously doesn't mean it's as well-hidden as it could be if it keeps getting out like it does. These are the main problems with the film.Today's Rating/R: Nudity, several sex scenes and Violence.

Fresh from playing an unnamed vampire in this film's prequel 'The Vampire Lovers', actress Kirstin Lindholm here plays an unnamed peasant girl in the pre-credits sequence. She is attacked by another wraith-like bloodsucker stalking the countryside in broad daylight, which seems perfectly acceptable for the undead in these latter day Hammer films.Immediately, the same studio-bound low-budget tattiness that afflicted the earlier film is evident here. Former DJ Mike Raven plays Baron Karnstein (presumably the same character John Forbes-Robertson played in 'The Vampire Lovers'), dressed in suit and cape and dubbed by Valentine Dyall. He spills the girl's blood to resurrect, in a nice gory sequence, Carmilla. Close-ups of Christopher Lee's eyes, complete with red contact lenses, spliced from another film, are inexplicably inserted during this scene, further under-lining the gleefully cut-price nature of this production – and this barely ten minutes in.Unlike the episodic nature of 'The Vampire Lovers', this gives us more time to get to know the characters. Ralph Bates – in a role originally written for Peter Cushing – plays Giles Barton, a fascinating character who exudes prim fussiness as schoolmaster in an idyllic Finishing School for girls, but hides a dark desire. He is chided by the girls for being a pervert, whereas the less interesting hero Richard LeStrange (Michael Johnson), who lies his way into the position of supply teacher so he can ogle new pupil Mircalla more closely, is welcomed with open arms by the students. Pippa Steele returns from 'The Vampire Lovers' to play a different, equally doomed, character, as does the splendid Harvey Hall, but the titular Carmilla has been recast. Instead of Ingrid Pitt's mastery of seduction and devilry, we have Yutte Stensgaard's far less complex interpretation. Well worthy of a mention is Suzanna Leigh as Janet Playfair, the schoolmistress who tries to attract LeStrange's eye. Christopher Neame, one of a gaggle of villagers would go onto play Dracula's servant Johnny Alucard in 'Dracula AD 1972'.Barton's moonlit rendezvous with Carmilla is my favourite scene from the film. Barton wishes to be a servant of the Devil, having studied vampire lore and disposing of Carmilla's victims. His crumbling entreaties to the unfeeling girl as she drains him of his blood are a perfect mix of seduction and doom. Almost as mesmerising is Carmilla's later love scene with LeStrange. This scene has been much derided, mainly due to the inclusion of a song ('Strange Love' by 'Tracy') throughout its duration, but I really like it. With horror, you either have to 'go with it' or not, and this scene helps to sell the haunting, dreamlike atmosphere – and yet it is telling Hammer never tried anything like it again. Ah well.Having succumbed to the charms of a mortal, Carmilla's days (or nights) are numbered. The Karnsteins return to their castle and a fiery finale involves a burning wooden stake hurtling from the ceiling, impaling the girl as the Count and Countess face their fate. I'm not sure whether I prefer this to the previous film or not. Both have flaws – usually budget-related – but many merits too. One thing I am sure about, however, is that the final picture of the trilogy, 'Twins of Evil' ends the project on a high.

I saw this film for the first time on television recently and do not know whether it was cut by the station or whether it had been butchered by the station or simply whether it had been badly edited in the first place but whatever it does not make much sense with a plot that has more and bigger holes in it than the average household sieve. The film is not remotely frightening, tense or spooky in the way that the earlier Hammer films often were and has none of the visual richness that the Terence Fisher directed films possessed - if anything it looks more like something made by Lew Grade's ITC around the same time. Most of the actors are familiar enough though I have to confess that Michael Johnson who plays the 'hero' Lestrange is somebody whose name and face has slipped my mind. He is not helped by looking a bit like Jason King would sans his moustache and as a dashing, romantic hero I can see why Johnson has proved to be so forgettable. His character doesn't attract any sympathy although he does seem to be fire and smoke proof if the finale is anything to go by. Yutte Stensgaard plays Mircalla the lesbian vampire/seductress role previously played by Ingrid Pitt in the previous year's Vampire Lovers. Stensgaard is no Pitt. She looks quite nice I suppose- in a sort of Raquel from Coronation Street sort of way- but has none of the allure that Pitt brought to the same role and quite why she has the hold over he classmates, Lestrange and Giles Barton I am not sure. Giles Barton as played by Ralph Bates is by far the best thing about the film- Bates was a fine actor who died far too young and here he gives the creepy. sexually and emotionally stunted teacher a depth the writers could not. The scene where he tries to seduce Mircalla has a pathos that nothing else in the film has. Sadly he is gone after forty minutes. The film came at a time when Hammer,like the Carry On films, was running out of steam and was unsure how to cope with the then prevalent new freedoms when it came to showing bare flesh. There is a lot less nudity and lesbianism on show here than in The Vampire Lovers and I guess that many who view this film will do so hoping to see more in the way of bare bosoms, bottoms and soft core Sapphism than is actually on show. As I said at the top of my review I am not sure how much of the flesh has been cut by either the TV Company ( Horror Channel) or the original censor but if you are expecting the films to be titillating- and the title suggests you might be entitled to think so- be prepared for a disappointment. But then so much of this poorly scripted, indifferently acted and shoddily directed film is a disappointment. 3 out of 10 is being generous and it is all for Bates.