THE BLOOD SPATTERED BRIDE 1972
The Blood Spattered Bride (Spanish: “La novia ensangrentada”) is a 1972 Spanish horror film directed by Vicente Aranda, based on Joseph Sheridan Le Fanu’s vampire novella “Carmilla.” The film stars Simón Andreu as the husband, Maribel Martín as Susan, and Alexandra Bastedo as Carmilla/Mircala Karstein.
Newlyweds Susan and her husband arrive at his ancestral estate for their honeymoon. Susan begins experiencing disturbing dreams and visions of Mircala Karstein, an ancestor who murdered her husband on their wedding night centuries ago. As Susan becomes increasingly detached from her husband, she falls under the influence of Carmilla, a mysterious woman who appears on the beach.
Central to the film’s impact is the seductive Carmilla, who is revealed to be a vampire and the reincarnation of Mircala Karstein. She seduces Susan, awakening her repressed desires and leading her on a bloody rampage. The film climaxes in a violent confrontation between the women and Susan’s husband.
The Blood Spattered Bride gained cult status for its blend of horror, vampirism, progressive ideas on gender and sexuality, female empowerment, and rebellion against patriarchal oppression set against the backdrop of Gothic horror.
The film’s erotic elements and violent imagery, including dream sequences and surreal visions, contribute to its unsettling atmosphere as Aranda’s direction creates a haunting and visually striking film that explores sexual politics cloaked in traditional vampire lore.
BLOOD AND ROSES 1960
Roger Vadim’s Blood and Roses (1960) is a visually sumptuous and erotically charged adaptation of Sheridan Le Fanu’s “Carmilla,” transporting the vampire tale to modern-day Italy. Set in modern-day Italy, the film follows Carmilla (Annette Vadim), who becomes possessed by her vampire ancestor Millarca (also Vadim) during her cousin’s engagement party.
The film also stars Mel Ferrer as Leopoldo and Elsa Martinelli as Georgia. Vadim’s direction blends surrealism, psychological horror, and sensuality, creating a dreamlike atmosphere that blurs the line between reality and fantasy. A defining scene that encapsulates the film’s unique style is the surreal black-and-white dream sequence with vibrant blood-red accents. In this pivotal moment, Georgia experiences a hallucinatory journey through a watery landscape, culminating in an operating theater where Carmilla/Millarca reveals her true nature. The sequence, with its striking visuals and symbolic imagery, showcases Vadim’s artistic approach to the vampire genre.
Claude Renoir’s cinematography is a breathtaking piece of phantasmagoria, particularly in scenes like Carmilla’s ethereal wandering through the misty cemetery in her white dress. The lush setting of Hadrian’s Villa provides a backdrop of decadent beauty, contrasting with the film’s darker themes.
Vadim blends surrealism, psychological horror, and sensuality, creating a dreamlike atmosphere that blurs the line between reality and fantasy. The film’s innovative use of color, particularly in its surreal black-and-white sequence with red accents, elevates it beyond typical vampire fare.
Blood and Roses explores themes of jealousy, forbidden desire, and the thin veil between life and death, offering a sophisticated take on the vampire mythos that influenced later erotic horror films. While it may not have achieved widespread recognition, it remains a visually striking and thematically rich entry in the vampire genre.