LE VIOL DU VAMPIRE. 1967, regia di Jean Rollin Scheda: Nazione: Francia - Produzione: ABC. nel quale ricadranno - a mo' di tramite - le ragazze. Esordio per Rollin, che mette assieme - in realtà - due mediometraggi. While ultimately not as completely captivating or accomplished as Jean Rollin's later works, Le Viol Du Vampire (1968) can rightly claim to being one of the most daring and alive debut feature films of the sixties. French horror: Jean Rollin interviewed Printer- friendly version of this article. HORRORClocks, seagulls, Romeo and Juliet. Surrealism Rollin style. In this candid interview with the writer- director (and occasional actor), Andy Black gains important insights into Rollin's influences, motivations and cinematic experiments. A grandfather clock is of no interest—a vampire woman getting out of this clock at midnight, that's me!–Jean Rollin. Dreams and life—it's the same thing; or else it's not worth living.—From Rollin's Les Enfants du paradis. As any viewer who is acquainted with Le Frisson des vampires (The Shiver of the Vampires, 1. Rollin's surrealist fantasies (and that's basically his whole oeuvre) in the latter case will testify, the above quotations encapsulate Rollin's filmic raison d' être, symbolised in his kaleidoscopic costumes, decadent characters and nebulous romanticism. Download Jean Rollin - Le viol du vampire torrent or any other torrent from the Video Movies. Direct download via magnet link. 90 minutes: Country: France: Language: French: Budget: ₣500,000: Le Viol du Vampire (English title: The Rape of the Vampire, also known as Queen of the Vampires) is a 1968 film directed by Jean Rollin. Whilst the Frenchman's early career focused on his now trademark vampire sex 'epics' such as Le Viol du vampire (The Rape of the Vampire, 1967), La Vampire nue (The Naked Vampire, 1969) and Requiem pour un vampire (1971), and. Le Viol du Vampire (1968). THE NUDE VAMPIRE (JEAN ROLLIN, 1970) - Duration: 4:16. (Viol Le Grande Peur. Whilst the Frenchman's early career focused on his now trademark vampire sex "epics" such as Le Viol du vampire (The Rape of the Vampire, 1. La Vampire nue (The Naked Vampire, 1. Requiem pour un vampire (1. Le Lac des morts vivants (Zombie Lake, 1. Hard Penetration (1. Les Raisins de la mort (The Grapes of Death, 1. Rollin. However, times, they are a changin' as the man said and perhaps the halcyon days are due to return with the release of Les Deux orphelines vampires (Little Orphan Vampires) in 1. Rollins' first vampire film for some 1. The master's well- documented love of the old Fench magazine serials or feuilletons shines through with the film being the first to be adapted from his long line of successful romans de gare (station novels)—a unique brand of French "pulp fiction," which also includes Anissa, Les Voyageuses, Les Pillards and Les Incendiaires in this particular vampire novel series. With Les Deux orphelines vampires, Rollin revisits his obligatory two female vampire leads—Louise and Henriette here—and favoured gothic graveyard milieu as the duo of blind vampires ("clack, clack, clack, clack went the two white sticks") await nightfall when their sight (and more importantly, their appetite for blood) returns and they seek out new victims. The vamps, with their dual personalities alternating effortlessly between good and evil, mirror the equally diverse nature of those Sadean characters Justine and Juliette, an irony not lost on Rollin to be sure. I tracked down the ubiquitous Rollin in 1. You have stated that the poet Tristan Corbière and the artists Philippe Druillet and Clovis Trouille are among those who have inspired your work—in what way? Jean Rollin: Corbière was a poet of the sea. And the sea is most important to me. My first short film was an evocation of Corbière on a beach near Dieppe. I was young, no money, no material, etc. But I was there, on that strange beach covered in stones, deserted, with just the falaise [cliffs] and the seagulls. And in my mind, I said: "One day I'll come back here with all the possibilities for a real shoot. For me, now, after six or seven films shot on that beach, it is mixed with the remembrance of Corbière. Druillet has nothing to do with my work, he is just a friend. After the shooting of Le Viol du vampire I asked all my friends who can take a pencil to do an image for the poster. Druillet brought (an image) which immediately became the film's poster. Clovis Trouille paints, I think, as I film. When I see some of his paintings, it seems to me that they could be photos from one of my films. The same strange arrangements of the elements, romantic- expressionistic protagonists, expression of the imagination. As for Magritte, Trouille paints people and objects in a realistic, ultra- realistic manner. It's the arrangement between the elements which forms the surrealist way. Paintings like Stigma diaboli, La Violée du vaisseau fantome [The Raped One from the Haunted Ship—which could be the title from a Rollin film], L'Heure du sortilege and so on could absolutely be images from my mind and my films. They are part of the "mystery of the imagination" I like so much. If you look at a painting like Mon tombeau [My Grave] it can recall many images from Le Viol, Le Frisson or Requiem. What influence did the likes of Georges Franju and Luis Buñuel have on your career? It's the same kind. Buñuel shot visions like Trouille did paintings, or Magritte. We can take some images off the film, those images speak for themselves. They are independent of the story, they are the voice of Buñuel himself. So, in a film so banal in appearance like Susana (1. This Strange Passion, 1. Personally, I am jealous of an extraordinary vision I saw in one of Buñuel's last French films. I don't remember which one but: a man closes a coffin, and some gold hairs from the dead girl inside are visible. Such imagery leaves me full of exaltation. There are many such imags in Buñuel films. Franju is the author of the greatest film of the genre, Les Yeux sans visage (1. Perfection of the script, of the actors, of the light, of everything. I was haunted during many, many years by the end, Edith Scob walking in the park with her face covered by the white mask, and the white birds and that music.. I have tried to find that atmosphere of dream, poetry and madness in many of my films. Same reflections about Judex (1. It's a serial, like a serial. For me, where the cinema is near the surrealist poetry, near the primitive mind of childhood, it is the serial. My remembrance as a child is of the serials I saw after school every Wednesday—Zorro Fighting Legion, Mysterious Docteur Satan, G- Men Versus the Black Dragon, etc. I think I personally have shot two serials: Le Viol du vampire and Les Trottoirs de Bangkok (Sidewalks of Bangkok, 1. Here a critic said, "Rollin has done with Bangkok the same film as his first one, Le Viol, 2. And it's true! Bangkok is a kind of "Fu- Manchu" and the film was improvised to a great degree like Le Viol. When I was shooting it, I was in the same mind that I was for Le Viol. I was 2. 0 years old again! Your first fantasy film Le Viol du vampire was considered daring for the time and was released during a turbulent period in French history—in what way did this film and the critical reaction to it shape your future career? Le Viol was a terrible scandal here in Paris. People were really mad when they saw it. In Pigalle, they threw things at the screen. The principal reason was that nobody could understand the story. But there is a story, I swear it! Now, after such a long time, I think the principal reason is that the film was supposed to be a vampire story. The audience knew only Hammer's vampires and my film disturbed their classical idea of what such a film had to be. And outside it was the revolution [1. The scandal was a terrible surprise for me. I didn't know that I had made such a "bizarre" picture. For me, it was so simple! In all the country, throughout France, the film was a scandal. In my area, a little village, the priest said to his audience in church that they must not see the film on release at their local cinema.. I was the devil. And even the fans of such films were disillusioned and the critics wrote horrors about me. A great newspaper, Le Figaro, wrote: "this film is certainly made by a group of drunk people, probably medical students. It's a joke." I thought that my career was finished. But many people came to see that scandalous film, and the producers asked me to do a second one. La Vampire nue was not so delirious. But I kept one element from Le Viol, the mystery, like in the old serials. Vampires burst from grandfather clocks, lovers are speared on the same stake—you are noted for your imagery, not your narratives—is this a fair comment? The answer is this. The imagery in my films is certainly more important than the story itself. But the stories are done to provoke such images. In a certain way, the stories are "mad love" stories and the images are surrealist visions. The mixture of both makes my films. In some ways your films break gender stereotypes—often two females are the lead players—is this a conscious attempt at "sexual equality" or a male reaction in showing seductive figures, often engaged in lesbian activities, or something else?!! Why the girls? I really don't know. Maybe a psychoanalyst can tell! Even in my books, Les Demoiselles de l'étrange are two, Les Deux orphelines vampires of course and many more. About the love scenes, I must confess that, for me, I prefer to see (and show) two girls naked rather than a girl and a man. For me, a naked girl is more interesting, for sensuality and for poetry (a naked girl is always poetry), to put her in a clock or in a chimney, or anywhere except a bed. Using things for unexpected uses is the base of all surrealist painting. See Max Ernst, Marcel Duchamp. When Duchamp painted Nude Walking Down A Stair, it's no more a simple stair. It became the stair with a nude on it. Understand? My clock is no more a simple clock, it's a clock with the vampire girl in it [Le Frisson des vampires], then the girl killer hides in it [Killing Car (1. It's become Rollin's clock!! Regained memory and lost innocence also appear to be central themes in your work—why? Every man is, consciously or not, researching, remembering his childhood. When I was a child, there was no TV, only movies. I saw so many films.. Maybe I am trying to recapture those moments and make films with the same eyes I had to see Mysterious Docteur Satan or Jungle Jim.. These childhood memories would include such recurring locations as Dieppe beach? As I said I was fascinated by that strange beach. I have seen many beautiful beaches in my life, but this one, I don't know why, for me represents mystery itself. It's a surrealistic beach. Three elements: the falaise [cliffs], the sea and the mouettes [seagulls]. How have you enjoyed working with such actresses as Brigitte Lahie, Marina Pierro and Françoise Pascal? Brigitte is a pleasure to work with. She is quiet, she really likes to act, to play, and she does what is required of her role. Filmografia vampirica, Le viol du vampire (1. LE. VIOL DU VAMPIRE1. Jean Rollin. Scheda: Nazione: Francia - Produzione. ABC Films - Distribuzione. Video Search of Miami. Jean Rollin - Sceneggiatura. Jean Rollin - Fotografia. Guy Leblond, Antoine Harispe. Jean- Denis Bonan. Yvon Geraud, Franзois Tusques, Barney Wilen- . Formato: Color - Durata. Bernard Letrou, Ursulle Pauly, Solange Pradel. Nicole Romain, Catherine Deville, Marquis Polho, Louise Horn, Doc Moyle, Don Burhans. Yolande Leclerc, Philippe Druillet, Jean Aron, Mei- Chen, Edith Ponceau Lardie, Olivier Martin. Jean Denis Bonan, Eric Yan. Trama e commenti: posthuman. Quattro. sorelle convinte d'essere vampire, si sottopongono alle cure di uno psichiatra. Regina dei succhiasangue" progetta un piano diabolico, nel quale. Esordio per Rollin, che mette. Ma visivamente la pellicola и. Davvero non male. Prima opera horror di Rollin, composta da due mediometraggi. Dal punto di vista della messa in scena и ottima, mentre il cast и cosм cosм. Buona l'atmosfera, non male. Da vedere». Plot Summary, Synopsis, Review. This. bizarre, surrealistic erotic- horror film was the first feature by cult director. Jean Rollin. There's a great deal of sex, blood, and arty imagery but very. What plot there is primarily focuses on a pair of. Queen. Vampire who wears a salamander headband and carries a broadsword. The film got. dreadful reviews for its well- nigh incomprehensible mix of densely graphic. Gaston Leroux poetry, and dialogue which was more than half improvised. The results were mostly regrettable, but Rollin completists will find enough. Rollin returned with the even stranger La Vampire Nue» (Robert Firsching). Approfondimenti: Movie. Review. Conosciuto anche con i titoli: The Rape of the Vampire. La Reine des vampires; Vampire Women. Queen of the Vampires. Die Vergewaltigung des Vampirs.
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