In spite of it's title, this is not a zombie film, but rather, a vampire film (although the vampires do act a bit zombie-like in a few scenes). Don't let yourself be fooled by it's ridiculously low IMDb rating, for this is certainly one of the best of it's kind, and while obviously not for everyone, will certainly please fans of romanticized Gothic horror ala Antonio Margheriti's "Castle of Blood" or Coppola's "Dracula". While it's not as technically polished as either films, the final product is just as endearing and as powerful. Director Leon Klimovsky was no stranger to the genre, having directed quite a few Paul Naschy vehicles as well as the infamous "Vampire's Night Orgy". This one has same style and flair as seen in his previous works, but he takes it to a whole other level of excellence, and this might just be his best film. "Night of the Walking Dead" works because the romantic angle is treated in a mature, involving way and does not diminish the film's more horrific and exploitive impact. For the more "pretentious" viewers like myself, Klimovsky even does flirt with the idea of making an art-house film, culminating in a deliriously surreal vampire ball scene that looks like a cross between Polanski's "The Fearless Vampire Killers" and Fellini's "Juliet of the Spirits". He never really crosses the thin borderline between horror and art, but these avant-garde touches add a lot to the film's strange, bewildering atmosphere. Set in a remote 19th century village somewhere in Europe, the story follows a young aristocrat (Emma Cohen) suffering from a terminal disease, and whose sister just recently succumbed to the bloodthirsty vampires that roam the region. Soon enough, she finds herself falling in love with the leader of the vampires - Count Rudolph (Carlos Ballesteros), and willingly joins their cult of the damned as a way to escape her lonely life and forthcoming death. However, the Count is so in love with her that he simply cannot allow her initiation to become a horrible creature like himself. The film's biggest flaw, I believe, comes from the rather snail-paced first half. Don't get me wrong, I love slow-moving horrors, but this one is filled with unnecessary exposition to characters that don't have that much of an importance to the film. Thankfully, Cohen (a very underrated actress in my view) manages to carry the first half very well, and creates great sympathy and for her character. Her gradual detachment from her parents' overwhelming repression and care, in order to become a monster, can be read as a metaphor for a young girl's sexual awakening in the 19th century. Ballesteros' Count Rudolph is not quite as impressive, but he is serviceable enough. One could only wish he'd been slightly creepier, specially when you consider how truly scary-looking the other vampires were. Although plot-wise the film can be read as being no different from something out of Hammer, Klimovsky employs a totally different stylistic approach. Reminiscent of José Ramon Larraz's "Vampyres", he makes great use of the autumnal rural landscapes. Grey skies; vast, empty fields; and leaf-less tress blowing in the wind, all become characters themselves, and land a lot to the film's gloomy, saddening atmosphere. The romantic score by Máximo Barratas, on the same vein of Carlo Rustichelli's work in "The Whip and the Body", fits the brooding, lonely imagery perfectly, and most definitely deserve a CD release. Overall, this is a definite must-see for Gothic horror fans, and one that deserves a HD restoration, as well as more recognition
Review of Strange Love of the Vampires
