Sounds like a natural -- a 70s female vampire opus from 60s erotica master Joseph Sarno. His best suburban exposés of the Eisenhower/Kennedy era featured smatterings of the occult, and one would think that the loosening of standards would set his art free. Don't get your hopes up too high, though. First of all, Sarno's favoured technique is to build up tension between characters using short dialogue scenes -- but here, the thick German accents and stiff acting render the script unfathomable. And Sarno doesn't really have the intense visual style (at least not with this cinematographer) requisite of the genre, despite the authentic Bavarian castle background. Nonetheless, Sarno fans will be amused by the recycling of his favourite tropes (candles, bongo drums, ceremonial chants and dances, carnal compulsion and betrayal), and vampiric completists may be amused by his idiosyncratic and more realistic take on bloodlust conventions. Just don't expect a lost masterpiece, and be prepared to put some effort into the viewing.
26 Reviews
Vampire Ecstasy but sadly it didn't make me feel ecstatic
Stevieboy66612 November 2022
I bought "The Devil's Plaything" under the alternative title "Vampire Ecstasy" uncut on British DVD release, set in a German castle it is a tale of vampires, rituals and lots of sex. I won't beat about the bush (pun intended, ha, ha!) but this is a soft core skin flick dressed up as a horror movie. Erotic horror if you like, director Joseph Sarno was apparently one of the pioneers of this sub genre. The Gothic castle is set amongst beautiful German mountain scenery, impressive but the female vampires seem immune to sunlight (though not garlic or crosses), and there's not a set of fangs in sight. Barely any blood either. The cast consists of European actors who appear to have been speaking in English. If this were the case then credit to them for doing this, however their performances do come across as very wooden and would probably have been better filmed in German with English subtitles or dubbed into English. Apart from a disfigured, creepy male servant all of the cast get naked and this probably makes up about half of the move's running time. The sexy female vampires perform rituals in the castle's dungeon, gyrating to a repetitive drumbeat and doing suggestive things with phallic shaped candles! There are also several sex scenes though nothing of the hardcore variety. My problem is that after a while this just became very repetitive and lost its eroticism, not helped by a running time of 103 minutes. As a horror movie this is lame, as a European sexploitation flick then it's worth a look.
A movie about.... WHAA?!
dukee4430 October 2007
Warning: Spoilers
I wasn't as "lucky" as some of the others commenting on this film: i have never seen anything else out of the...shall we say... "fecund" mind of Sarno. I agree with many: some of the actresses who spend a lot of time topless and (go-go) dancing are not really that attractive. I kinda liked Fraulein Crank(?)...she was so homely , she was cute! The acting was pretty stale, also, though delivering lines in a second language might have accounted for a lot of that problem. Trying to follow the plot was a major chore: was there one, really? I do heartily agree with one other comment: for a vampire movie, there's not much blood. Yep, if you want GOOD bloodsucking flicks, check out such Hammer classics as "Horror of Dracula" and (my personal favourite) "Brides of Dracula".
The most (unintentionally) humorous part is where the lady doctor gets her clothes torn off by a cloud of bats...which you never SEE!...the bats, I mean.
Okay as a time-waster if you happen to catch it on cable here in the Great White North but, for heaven's sake, don't rent it!
The most (unintentionally) humorous part is where the lady doctor gets her clothes torn off by a cloud of bats...which you never SEE!...the bats, I mean.
Okay as a time-waster if you happen to catch it on cable here in the Great White North but, for heaven's sake, don't rent it!
One of Joe Sarno's best films--for what ever that's worth
lazarillo9 July 2006
Joe Sarno has never quite achieved the respect or notoriety of other sex/genre directors like Jess Franco or Russ Meyer largely because he was a very workman-like director without a really distinctive style of his own. However, unlike Franco, who only made movies in Europe, or Meyer, who only made movies in America, Sarno was able to go back and forth across the Atlantic making low-budget classics like "Sin in the Suburbs" in the US and "Inga" and "Young Playthings" in Europe. Like Franco and Meyer, he definitely had an eye for pretty girls. In America he helped discover several bra popping ingénues like Uschi Digart, Marsha Jordan, and Audrey Landers while in Sweden he discovered some truly impressive beauties like Marie Lillejahl, Christine Lindberg, and the star of this picture, Maria Forse.
Forse, the only Swede in an otherwise German cast, plays a schoolgirl who is lured with her friend to a remote castle as part of some plot by a coven of witches/vampires to snare a brother and sister in order that they can resurrect the siblings' ancestor, a long dead witch (or something like that). Her friend becomes a vampire while she falls in love with the brother. Much nudity, ritualistic dancing, and softcore groping ensues. The plot really isn't that important though--this is another European film where the producers apparently had access to an old castle and some actresses willing to disrobe so they decided to make a movie. The results kind of resemble a Jean Rollins film like "Requiem for a Vampire" but less arty, or a Renato Polselli like "The Reincarnation of Isabel" but less insane. It's more a sex film than a horror film, but interestingly, judging from some of the footage in the DVD supplements, Retroseduction did not include the strongest possible cut sex-wise. This is probably just as well as this barely qualifies as horror film as it is. If you want to see a pure Sarno sex film I'd recommend either the arty but barely legal (if that) Swedish film "Inga" or the godawful American bored housewife romp "Pleasures of Woman" (which Retroseduction also recently released on DVD-- along with a shot-by-shot "remake" with their in-house silicone cyborg girls just in case you want to watch it twice). Pick your poison.
Next to the very hard-to-find "Young Playthings", this is probably Sarno's best film though--for whatever that's worth
Forse, the only Swede in an otherwise German cast, plays a schoolgirl who is lured with her friend to a remote castle as part of some plot by a coven of witches/vampires to snare a brother and sister in order that they can resurrect the siblings' ancestor, a long dead witch (or something like that). Her friend becomes a vampire while she falls in love with the brother. Much nudity, ritualistic dancing, and softcore groping ensues. The plot really isn't that important though--this is another European film where the producers apparently had access to an old castle and some actresses willing to disrobe so they decided to make a movie. The results kind of resemble a Jean Rollins film like "Requiem for a Vampire" but less arty, or a Renato Polselli like "The Reincarnation of Isabel" but less insane. It's more a sex film than a horror film, but interestingly, judging from some of the footage in the DVD supplements, Retroseduction did not include the strongest possible cut sex-wise. This is probably just as well as this barely qualifies as horror film as it is. If you want to see a pure Sarno sex film I'd recommend either the arty but barely legal (if that) Swedish film "Inga" or the godawful American bored housewife romp "Pleasures of Woman" (which Retroseduction also recently released on DVD-- along with a shot-by-shot "remake" with their in-house silicone cyborg girls just in case you want to watch it twice). Pick your poison.
Next to the very hard-to-find "Young Playthings", this is probably Sarno's best film though--for whatever that's worth
Penis-shaped Candles! Need I say more?
Coventry24 June 2008
Well, there you have it, another disillusion on my account. Two, actually! First of all, even though I like to think of myself that I know a little something about 70's euro-exploitation and its most prolific contributors, I never heard about Joseph W. Sarno before. Here's a guy who made over seventy rancid and cult-laden exploitation movies and I haven't seen a single one! How? Why? What happened here? Secondly, and even worse, just when you think to have found a new source for obscure cult movies, that director's most famous and supposed "masterpiece" turns out to be an irredeemably dull and irritating film. Admittedly, lesbian vampire movies form a pretty insignificant sub genre as a whole, but some of them bath in ominous atmosphere and curious sensuality (like José Larraz' "Vampyres" or Harry Kümmel's "Daughters of Darkness"). Joseph Sarno's film has nothing to offer, except copious amounts of gratuitous nudity and even that becomes boring rather quickly. The events take place in a secluded old castle, hidden deep in the German mountains, where five centuries ago lived a malicious and bloodthirsty (literally) baroness. Her loyal disciples still throw naked dance parties in the castle's catacombs, which are lit by penis-shaped candles
AUCH, and hope to resurrect the baroness any time soon now. Suddenly (don't even ask how) the castle is full of young and sexy female guests, so even more erotic rites ensue. Sounds delicious and entertaining enough, but "The Devil's Plaything" contains a massive number of sequences where literally nothing happens and where the cast members' ignorant facial expressions are simply unendurable! Sarno isn't capable of creating suspense or building a Gothic atmosphere (or maybe he just didn't bother to) and the actresses' capacities restrict themselves to standing in front the camera topless and pull a really pathetic face. Please do yourself a favor: no matter how desperately you strive to see all lurid lesbian-vampire movies of the 70's, this one isn't worth a penny! Even the repertoires of Jess Franco and Jean Rollin are pure art compared to this dud.
Did you know that a mature watercress bed needs an average flow of 5,000 gallons per acre per hour?
BA_Harrison1 March 2017
A group of young travellers converge on a remote German castle where the occupants try to resurrect a centuries old vampiress by using a descendant as the host for her spirit.
As written and directed by prolific adult film maker Joseph W. Sarno, The Devil's Plaything unsurprisingly suffers from a dreadful plot and crap performances, and delivers loads of (unexplicit) nudity and sex, opening as it means to go on with a protracted naked lesbian hippy Satanic ritual in which the participants are felt up by their leader. Precisely what they are hoping to achieve by this practice is unclear, but it's fun to watch, nonetheless. Sadly, as the film progresses, and the story becomes harder to follow (not helped by the strong accents of its mostly German cast), the repetitive scenes of gyrating naked women actually become extremely boring, even when they introduce multi-coloured penis-shaped candles into the mix.
More nudity and random sexual acts are provided by the castle's young guests, including a couple having a roll in the hay, and a woman satisfying herself with a candle (NOT penis shaped, but it still does the trick). Somehow, though, Sarno manages to make all of this deviancy about as exciting as a documentary on watercress farming in the Meon Valley.
As written and directed by prolific adult film maker Joseph W. Sarno, The Devil's Plaything unsurprisingly suffers from a dreadful plot and crap performances, and delivers loads of (unexplicit) nudity and sex, opening as it means to go on with a protracted naked lesbian hippy Satanic ritual in which the participants are felt up by their leader. Precisely what they are hoping to achieve by this practice is unclear, but it's fun to watch, nonetheless. Sadly, as the film progresses, and the story becomes harder to follow (not helped by the strong accents of its mostly German cast), the repetitive scenes of gyrating naked women actually become extremely boring, even when they introduce multi-coloured penis-shaped candles into the mix.
More nudity and random sexual acts are provided by the castle's young guests, including a couple having a roll in the hay, and a woman satisfying herself with a candle (NOT penis shaped, but it still does the trick). Somehow, though, Sarno manages to make all of this deviancy about as exciting as a documentary on watercress farming in the Meon Valley.
If nudity equals horror ...
kosmasp19 August 2017
... than this has a lot of Horror in it! Like almost way too much of it. Full frontal and everything. There is no explicit intercourse being shown, but other than that it feels like at least 50% of the movie plays in the nude. A lot of women who may not be able to convince you of their characters motivation, but seem to be able to convince others to obey them (through singing as is suggested and their bare bodies).
I wonder if some thought: who needs Viagra, when you can chant and make people horny just like that. Of course Viagra was not a thing back then. But Horror movies were. Not that there is much evidence of that here. I mean it get eerie from time to time, but this puts the Horror mantle on to let you watch a soft-core movie and not feel bad about it. Here's the thing: you can have fun with this, because it's so bad it gets entertaining. You can't be prude (I think I thoroughly established that) and don't expect too much Horror out of it ... Fancy an ... old castle with hot women dying to get into your pants? (on a serious note: the best thing is the location itself, really puts value to the whole thing)
I wonder if some thought: who needs Viagra, when you can chant and make people horny just like that. Of course Viagra was not a thing back then. But Horror movies were. Not that there is much evidence of that here. I mean it get eerie from time to time, but this puts the Horror mantle on to let you watch a soft-core movie and not feel bad about it. Here's the thing: you can have fun with this, because it's so bad it gets entertaining. You can't be prude (I think I thoroughly established that) and don't expect too much Horror out of it ... Fancy an ... old castle with hot women dying to get into your pants? (on a serious note: the best thing is the location itself, really puts value to the whole thing)
'70's tittie grind vampire flick at its best
VideoMonkey22 February 2000
Well the story is a little hard to follow the first time, but that's only because of all the bare breasted '70s painted-up vampire/witches dancing to the bongo drums. This of course interrupted by a few vampiric orgies. And there are some very interesting candles and uses for them. And for girl on girl action, vampiric or not...this movie just rocks!!!
Based on the other comments, I must have missed something
bensonmum212 November 2005
Warning: Spoilers
To be as honest as I possibly can, The Devil's Plaything (or Veil of Blood or Vampire Ecstasy or The Curse of the Black Sisters or
) is a complete bore. The movie has a good premise behind it the resurrection of a long dead vampire through the body of a descendant through the aid and assistance of a group of women dressed in black but the execution is horrible. There are great, long moments of screen time when literally nothing happens. Characters just stand around with nothing to do. There's no mystery, no suspense, and no plot points to care about. The acting is simply abysmal. Most of the acting involves a group of below average looking women dancing naked while staring at the camera. They do this repeatedly. And what little plot there is seems to be designed to get more of these less than attractive women naked so they can join in the dancing. While it's not as bad or pointless as the dancing or the plot in something like Orgy of the Dead, it comes close.
Lesbo Vampires Unleashed!!!...
EVOL66617 March 2006
Warning: Spoilers
THE DEVIL'S PLAYTHING is my second attempt at a Joseph Sarno production - and although I will say it is far more enjoyable than the painfully dull and unerotic Swedish WILDCATS, it is still a little slow and un-explicit for my taste.
This one centers around a group of vampire girls who live in a castle, that want to resurrect their previously murdered "leader". In order to do so, the girls have to dance around naked and kiss each other and chant weird stuff - and of course drink some blood, too. When a doctor and her brother's car breaks down and they have to stop at the castle for lodging - they provide the ideal bloodbank for the horny vampires...but they may not be as helpless as they seem...
THE DEVIL'S PLAYTHING is a pretty good example of early 70's exploit sleaze. Lots of nudity - including some full-frontal, some sleazy undertones - including incest and of course, lesbo-bloodsucking...but these scenes are still pretty tame by today's standards. Some pretty hot women in this one, would have benefited from some more explicit sex, but I guess ya can't have it all. Also would have benefited from some heavier violence/gore, being that it IS a vampire film, but I think the purpose of THE DEVIL'S PLAYTHING was more to showcase skin, not blood. Still a little slow - and the acting for the most part is absolutely wooden - but that's to be expected from something from this era and of this budget. Worth a look to exploit fans - others may find it a little too dull for their liking. 7/10
This one centers around a group of vampire girls who live in a castle, that want to resurrect their previously murdered "leader". In order to do so, the girls have to dance around naked and kiss each other and chant weird stuff - and of course drink some blood, too. When a doctor and her brother's car breaks down and they have to stop at the castle for lodging - they provide the ideal bloodbank for the horny vampires...but they may not be as helpless as they seem...
THE DEVIL'S PLAYTHING is a pretty good example of early 70's exploit sleaze. Lots of nudity - including some full-frontal, some sleazy undertones - including incest and of course, lesbo-bloodsucking...but these scenes are still pretty tame by today's standards. Some pretty hot women in this one, would have benefited from some more explicit sex, but I guess ya can't have it all. Also would have benefited from some heavier violence/gore, being that it IS a vampire film, but I think the purpose of THE DEVIL'S PLAYTHING was more to showcase skin, not blood. Still a little slow - and the acting for the most part is absolutely wooden - but that's to be expected from something from this era and of this budget. Worth a look to exploit fans - others may find it a little too dull for their liking. 7/10
TYPICAL 70'S DRIVE-IN MOVIE
nogodnomasters12 June 2019
Warning: Spoilers
This is a female vampire story. The historical background is similar to Vlad the Impaler, except it involves a baroness whose spirit is kept alive at this castle. In the basement of the castle, topless women in long loin cloths perform rituals to bongo music. Some young girls arrive at the castle unaware of the rituals. They are enticed to come to the basement through the enchanting bongo music. Here they get naked and have sex. No silicon. The vampire aspect was kept to a minimum.
Nudity, minor full frontal nudity, sex, lesbian sex, female masturbation. While this sounds pornographic, it is actually less graphic than today's soft core.
Nudity, minor full frontal nudity, sex, lesbian sex, female masturbation. While this sounds pornographic, it is actually less graphic than today's soft core.
One of the most erotic and sensual horror movies ever made.
HumanoidOfFlesh26 June 2002
This masterpiece of lesbian horror comes from exploitation master Joseph W.Sarno.It features plenty of soft core sex,really hot lesbian sequences plus a lot of naked women.The acting is pretty good and the film is quite atmospheric and well-made.Marie Forsa is one of the hottest chicks I have ever seen in a horror movie-it's a visual pleasure to see her wonderful body.Sarno really knows how to pick up hot looking ladies.A must see for fans of sexploitation!
Sarno's Lip-smacking Lesbian Vampires Lack Conviction
Nodriesrespect9 August 2012
Warning: Spoilers
Making his way back to home soil following the extended Scandinavian sojourn that yielded the landmark likes of INGA and DADDY, DARLING, Joe Sarno got sidetracked into the Swiss alps by distributor Chris Nebe who had made a mint dubbing and distributing several of the director's '60s sexploitation efforts in German-speaking countries and was now looking to branch out into production. For Sarno who was dragging his feet to return stateside anyway, knowing full well that he couldn't keep escaping the looming ever larger specter of hardcore, this artistic alliance came as a godsend. Their association, which was to last the course of three films (BABY LOVE and BUTTERFLY being the other two), got off to a less than fortuitous start with VEIL OF BLOOD which clearly adhered more to Nebe's notion of naughtiness, informed by Hammer's sexy streak of lesbian vampire sagas with the Karnstein trilogy and his access to a 12th Century Munich mansion owned by his uncle, the Baron Malsen. Sarno seemed out of his depth dealing with the Gothic trappings the genre demanded, resulting in one of his clunkiest carnal capers. Fortunately, both follow-ups played much more to his great strengths as a filmmaker which were the psychology of sex and the often inadmissible motivations that drive a character's attraction to another person. VEIL only really swings into gear when focused on the unhealthy desire between brother and sister Peter and Julia Malenkow, brought to a head by innocent interloper Helga, played by the magnificent Marie Forsa making her dirty movie debut.
A proverbial wild child prowling the streets of Stockholm when they met, this Swedish siren served as Sarno's true inspiration for the triumvirate in which she was to take center stage. No shrinking violet, she shrewdly had it put in her contract that no explicit footage could be made public, regarding a legitimate career that never happened, no matter how far she decided to take matters with her co-stars, which was all the way by most accounts ! Her work for Sarno holds additional interest for American audiences to hear her deliver her own dialog as by means of experiment to facilitate export these movies were shot with the predominantly German cast speaking English. This proves something of a drawback in the case of VEIL however as its dense plot requires reams of plot exposition, most of it delivered with fluctuating intelligibility by Hungarian Nadja Henkowa as Frau Wanda Krock, the sinister housekeeper at Castle Varga, the ancestral home of an evil Baroness (Elisabeth Batory in all but name) burned at the stake four centuries ago. Hot to trot Helga's one of two remaining descendants come to roost, the other being uptight brunette for contrast Monika, the scrumptious Ulrike Butz, a veteran of the SCHOOLGIRL REPORT series who sadly OD'd a few years later. She's fawned over by butch best friend Iris, frequently forgotten skin starlet Flavia Keyt, who had caused quite an uproar half a decade earlier sharing a bathtub with pneumatic Sybil Danning in Adrian Hoven's THE LONG SWIFT SWORD OF SIEGFRIED. Monika barely features in the film's narrative until the fiery reincarnation finale, heavily signposted by her "uncanny resemblance" to the portrait of the dead Baroness.
Fly in the ointment is Dr. Julia Malenkow (Anke Syring, shouldering the heaviest thespian burden not altogether convincingly, familiar from the impressive line-up of pulchritude offered by Franz Antel's SEXY SUSAN SINS AGAIN supplementing the ranks of Terry Torday, Edwige Fenech and Femi Benussi), an expert in the occult whose car has conveniently broken down in the vicinity. Brother Peter (bland hunk Nico Wolferstetter, an occasional hardcore performer in Lasse Braun's landmark SENSATIONS) in tow, she's dead set on getting to the bottom of the strange goings on at Castle Varga, starting with that infernal bongo beat rising from the basement every night as the bare nekkid Wanda leads her band of boob and butt shaking Baroness worshipers in a rudimentary introduction to belly dancing and bouts of feverish penis-shaped candle fondling, a spectacle even Sarno couldn't save from ridicule. Still worse is the lady doc's bat attack done on the cheap, Syring wildly waving her arms at unseen assailants as amplified bat squeaking fills the soundtrack and subsequently mauled by a pair of unconvincing hand puppets ! Far more effective is the character's tortured soul searching as she finds her brother's taken for granted affection alienated by Helga, the resulting triangle fuels what modest dramatic tension the story manages to develop. Even the vaunted vampire aspect alluded to in all of the movie's many titles is almost casually discarded with only the Malenkows clutching their "garlic crosses" a clear reference to bloodsucker lore, as sure a sign as any Sarno was definitely operating outside his comfort zone. Equally clueless appears the cinematography by his regular contributor Steve Silverman, a master of mood on ALL THE SINS OF SODOM who can't muster much more than murky here, scoring zilch on atmosphere and squandering a superb location.
Tragic Claudia Fielers portrays Wanda's right hand wench Samana whose lascivious finger-licking after fondling Forsa "down there" leaves an indelible lustful impression, more genuinely erotic than much of the textbook heavy breathing. She's sadly remembered most for being the subject of Andrzej Kostenko's supremely tasteless THE EVOLUTION OF SNUFF incorporating the actress's real life suicide at age 28. Robust blonde Heidrun Hankammer was a sex education mainstay and co-starred in Dietrich's original 1968 adaptation of Guy de Maupassant's DIE NICHTEN DER FRAU OBERST. While Sarno resumed residence on the other side of the Atlantic for one of his most fruitful filmmaking periods with the Rebecca Brooke cycle, Nebe's association with adult proved short-lived. Taking a page perhaps from the book of respected ex-pat Yugoslavian documentary director Marijan Vajda, who acted as production manager on VEIL while his same-named son handled second unit (and was to helm the Nebe-produced creepy cult horror BLOODLUST), he turned to documentaries with considerable success later in life.
A proverbial wild child prowling the streets of Stockholm when they met, this Swedish siren served as Sarno's true inspiration for the triumvirate in which she was to take center stage. No shrinking violet, she shrewdly had it put in her contract that no explicit footage could be made public, regarding a legitimate career that never happened, no matter how far she decided to take matters with her co-stars, which was all the way by most accounts ! Her work for Sarno holds additional interest for American audiences to hear her deliver her own dialog as by means of experiment to facilitate export these movies were shot with the predominantly German cast speaking English. This proves something of a drawback in the case of VEIL however as its dense plot requires reams of plot exposition, most of it delivered with fluctuating intelligibility by Hungarian Nadja Henkowa as Frau Wanda Krock, the sinister housekeeper at Castle Varga, the ancestral home of an evil Baroness (Elisabeth Batory in all but name) burned at the stake four centuries ago. Hot to trot Helga's one of two remaining descendants come to roost, the other being uptight brunette for contrast Monika, the scrumptious Ulrike Butz, a veteran of the SCHOOLGIRL REPORT series who sadly OD'd a few years later. She's fawned over by butch best friend Iris, frequently forgotten skin starlet Flavia Keyt, who had caused quite an uproar half a decade earlier sharing a bathtub with pneumatic Sybil Danning in Adrian Hoven's THE LONG SWIFT SWORD OF SIEGFRIED. Monika barely features in the film's narrative until the fiery reincarnation finale, heavily signposted by her "uncanny resemblance" to the portrait of the dead Baroness.
Fly in the ointment is Dr. Julia Malenkow (Anke Syring, shouldering the heaviest thespian burden not altogether convincingly, familiar from the impressive line-up of pulchritude offered by Franz Antel's SEXY SUSAN SINS AGAIN supplementing the ranks of Terry Torday, Edwige Fenech and Femi Benussi), an expert in the occult whose car has conveniently broken down in the vicinity. Brother Peter (bland hunk Nico Wolferstetter, an occasional hardcore performer in Lasse Braun's landmark SENSATIONS) in tow, she's dead set on getting to the bottom of the strange goings on at Castle Varga, starting with that infernal bongo beat rising from the basement every night as the bare nekkid Wanda leads her band of boob and butt shaking Baroness worshipers in a rudimentary introduction to belly dancing and bouts of feverish penis-shaped candle fondling, a spectacle even Sarno couldn't save from ridicule. Still worse is the lady doc's bat attack done on the cheap, Syring wildly waving her arms at unseen assailants as amplified bat squeaking fills the soundtrack and subsequently mauled by a pair of unconvincing hand puppets ! Far more effective is the character's tortured soul searching as she finds her brother's taken for granted affection alienated by Helga, the resulting triangle fuels what modest dramatic tension the story manages to develop. Even the vaunted vampire aspect alluded to in all of the movie's many titles is almost casually discarded with only the Malenkows clutching their "garlic crosses" a clear reference to bloodsucker lore, as sure a sign as any Sarno was definitely operating outside his comfort zone. Equally clueless appears the cinematography by his regular contributor Steve Silverman, a master of mood on ALL THE SINS OF SODOM who can't muster much more than murky here, scoring zilch on atmosphere and squandering a superb location.
Tragic Claudia Fielers portrays Wanda's right hand wench Samana whose lascivious finger-licking after fondling Forsa "down there" leaves an indelible lustful impression, more genuinely erotic than much of the textbook heavy breathing. She's sadly remembered most for being the subject of Andrzej Kostenko's supremely tasteless THE EVOLUTION OF SNUFF incorporating the actress's real life suicide at age 28. Robust blonde Heidrun Hankammer was a sex education mainstay and co-starred in Dietrich's original 1968 adaptation of Guy de Maupassant's DIE NICHTEN DER FRAU OBERST. While Sarno resumed residence on the other side of the Atlantic for one of his most fruitful filmmaking periods with the Rebecca Brooke cycle, Nebe's association with adult proved short-lived. Taking a page perhaps from the book of respected ex-pat Yugoslavian documentary director Marijan Vajda, who acted as production manager on VEIL while his same-named son handled second unit (and was to helm the Nebe-produced creepy cult horror BLOODLUST), he turned to documentaries with considerable success later in life.
Unique T and A flick from Germany
lordzedd-37 October 2006
Warning: Spoilers
Erotic cinema of the 1970's was tame compared to the triple X romps of today, which is good. Because there is a good story around the naked rituals and sex scenes. Of course, I wish that they had some vampire effects which they had at the time period and the sex did get in the way of the story a little. Plus some of the accents were hard to understand at time periods, but it's worth watching the unedited version then the edited up version which is titled THE DEVIL'S PLAYTHING. But if you don't care for allot of naked women dancing and having sex, then this isn't the movie for you. However, I did enjoy it and I give it...7 STARS.
Not much horror here (but lots of lesbians, at least)
melvelvit-11 December 2016
Yet another sapphic blood cult's on the loose in an old castle as the female descendants of a sixteenth-century vampire get together to receive their sanguine inheritance. There's also a brother & sister whose car break down, a Mrs. Danvers-type housekeeper, garlic crosses, puncture wounds on the neck, and other familiar horror trope in this CARMILLA-esque yarn that's short on hetero coupling and long on lesbianism and incest. Sarno borrowed Mario Bava's colored lights as well as the plot of BLACK Sunday (more-or-less) to spotlight a castle full of T&A, mostly from a naked coven, and even has a woman getting her clothes torn off by bats. From an American director who filmed in Germany to make the very essence of Eurotrash.
A softcore masterpiece. Spoilers.
contact-25814 April 2007
Warning: Spoilers
Spoilers! Classic 70's sex trash! The Swedish gal (Helga) was what made this movie so great. She was beautiful, but what really got to me was how sexual she was. She exuded massive quantities of sexuality throughout the film. Her best scenes were when she was, er, stimulating herself. Whenever she was on screen, I became transfixed.
Also, the Doctor Julia (sister of the dimwitted male focus of the film) was very interesting visually. Although most 12 year old girls have bigger breasts than Julia, she knew how to use what little she had and her scenes (especially the scenes with the silk blouse and black skirt) also grabbed my attention unmercilessly. You also got to love the major hoaky scene where the bats stripped her nekkid; I don't know if I've ever seen anything more ludicrous yet sexy at the same time. Classic stuff!
Also, the Doctor Julia (sister of the dimwitted male focus of the film) was very interesting visually. Although most 12 year old girls have bigger breasts than Julia, she knew how to use what little she had and her scenes (especially the scenes with the silk blouse and black skirt) also grabbed my attention unmercilessly. You also got to love the major hoaky scene where the bats stripped her nekkid; I don't know if I've ever seen anything more ludicrous yet sexy at the same time. Classic stuff!
Really Bad and Not Very Erotic
Michael_Elliott25 November 2016
Vampire Ecstasy (1973)
* (out of 4)
The beautiful Helga (Marie Forsa) arrives at a mysterious castle with a dark past and soon she is being seduced by the lesbian vampire (Nadia Henkowa) who was put to death four-hundred years earlier.
Director Joseph W. Sarno made a handful of films in Germany and this here is one of them. I haven't seen too many of Sarno's films but I've enjoyed what I've seen but sadly that's not the case here as I found this film to be quite horrid. It's also known as VEIL OF BLOOD, THE DEVIL'S PLAYTHING and several other titles and it's also available in a shorter 85-minute version as well as the 104-minute version, which is what I watched.
There are all sorts of problems with this film and the running time is certainly the major one. Whenever a film is this slow and boring an extended running time is never what you want to see and sadly this film really does seem like it's longer than THE GODFATHER trilogy. This thing just drags and drags and then drags some more and not once does anything make any sense. Obviously there a lesbian cult looking for new members but the scenes never add up to anything and they just last too long.
Another problem is that the pacing is awful and I can't help but think the shorter version must have played better. Forsa would appear in a couple other Sarno pictures and she's certainly the best thing about the film and keeps it from being a BOMB. The film offers up plenty of softcore sex and lots of beautiful women but even this grows boring after a while. The castle does look beautiful and the locations are also terrific to look at but overall this film is really bad.
* (out of 4)
The beautiful Helga (Marie Forsa) arrives at a mysterious castle with a dark past and soon she is being seduced by the lesbian vampire (Nadia Henkowa) who was put to death four-hundred years earlier.
Director Joseph W. Sarno made a handful of films in Germany and this here is one of them. I haven't seen too many of Sarno's films but I've enjoyed what I've seen but sadly that's not the case here as I found this film to be quite horrid. It's also known as VEIL OF BLOOD, THE DEVIL'S PLAYTHING and several other titles and it's also available in a shorter 85-minute version as well as the 104-minute version, which is what I watched.
There are all sorts of problems with this film and the running time is certainly the major one. Whenever a film is this slow and boring an extended running time is never what you want to see and sadly this film really does seem like it's longer than THE GODFATHER trilogy. This thing just drags and drags and then drags some more and not once does anything make any sense. Obviously there a lesbian cult looking for new members but the scenes never add up to anything and they just last too long.
Another problem is that the pacing is awful and I can't help but think the shorter version must have played better. Forsa would appear in a couple other Sarno pictures and she's certainly the best thing about the film and keeps it from being a BOMB. The film offers up plenty of softcore sex and lots of beautiful women but even this grows boring after a while. The castle does look beautiful and the locations are also terrific to look at but overall this film is really bad.
Joe Sarno ventures into the horror genre with decidedly mixed results
Woodyanders6 December 2017
Warning: Spoilers
Sexploitation maestro Joe Sarno did his best work with sordid, yet engrossing and realistic melodramas set in a plausibly seedy workaday reality. Sarno takes a stab at the vampire horror genre, but alas falls a little short of the mark due to his fumbling inability to craft much in the way of spooky Gothic atmosphere. Fortunately, Sarno does succeed quite well in giving this picture a substantial erotic charge thanks to the pleasing plethora of hot women dancing and cavorting in the buff, gals masturbating with huge phallic candles, sizzling soft-core copulation, equally scorching lesbianism, and the inspired idea of presenting stuffy occult expert Julia Malenkow (a decent performance by the slender and attractive Anke Syring) as a repressed lady with forbidden incestuous longings for her brother. Moreover, the smoldering presences of the luscious Marie Forsa and voluptuous brunette knockout Ulrike Burtz go a long way in compensating for the often sluggish pacing and the European cast having painfully obvious difficulty with the wordy English dialogue. While not one of Sarno's better movies, this flawed outing nonetheless still delivers the satisfying seamy goods and hence qualifies as perfectly acceptable grindhouse fare.
Erotic cult classic
dshannon104231 October 2023
"Vampire Ecstasy," ( aka "Devil's Plaything") released in 1973, is a gem in the realm of cult erotic horror cinema. This film, directed by Joseph W. Sarno, stands out for its unique blend of sensuality and the supernatural, offering an unconventional take on the vampire genre.
One of the most striking aspects of "Vampire Ecstasy" is its artistry. Sarno's direction brings an almost dreamlike quality to the film, with lush visuals and a hauntingly atmospheric soundtrack that creates an entrancing and immersive experience. The cinematography is seductive, and the use of lighting and shadows adds a mysterious allure to the story.
The film also stands out for its alluring and charismatic cast. Marianne Prevost, as Countess Nadine, delivers a captivating performance with a mesmerizing blend of sensuality and a hint of menace. She's supported by a cast that's equally engaging, bringing to life a world of decadence and desire.
What truly sets "Vampire Ecstasy" apart is its approach to the vampire mythos. It's not your typical fang-and-blood horror story. Instead, it explores the erotic and psychological elements of the vampire legend, making it a distinctive and daring entry in the genre. The film delves into themes of lust, power, and seduction, making it an exploration of human desires in a way that few vampire films do.
The pacing of the film is deliberate, allowing the audience to savor the tension and build-up of desire. It's a slow burn that immerses you in its world, making each revelation and twist all the more intriguing. The film's narrative is intricate and unpredictable, keeping you engaged from start to finish.
In conclusion, "Vampire Ecstasy" is a captivating and alluring entry into the world of erotic horror cinema. It dares to explore the darker aspects of human desire and the supernatural, wrapped in a beautifully crafted package. If you're a fan of artful and unconventional horror that pushes boundaries and challenges traditional genre conventions, this film is a must-see. It's an erotic and atmospheric journey into the realm of the undead that will leave you both fascinated and bewitched.
One of the most striking aspects of "Vampire Ecstasy" is its artistry. Sarno's direction brings an almost dreamlike quality to the film, with lush visuals and a hauntingly atmospheric soundtrack that creates an entrancing and immersive experience. The cinematography is seductive, and the use of lighting and shadows adds a mysterious allure to the story.
The film also stands out for its alluring and charismatic cast. Marianne Prevost, as Countess Nadine, delivers a captivating performance with a mesmerizing blend of sensuality and a hint of menace. She's supported by a cast that's equally engaging, bringing to life a world of decadence and desire.
What truly sets "Vampire Ecstasy" apart is its approach to the vampire mythos. It's not your typical fang-and-blood horror story. Instead, it explores the erotic and psychological elements of the vampire legend, making it a distinctive and daring entry in the genre. The film delves into themes of lust, power, and seduction, making it an exploration of human desires in a way that few vampire films do.
The pacing of the film is deliberate, allowing the audience to savor the tension and build-up of desire. It's a slow burn that immerses you in its world, making each revelation and twist all the more intriguing. The film's narrative is intricate and unpredictable, keeping you engaged from start to finish.
In conclusion, "Vampire Ecstasy" is a captivating and alluring entry into the world of erotic horror cinema. It dares to explore the darker aspects of human desire and the supernatural, wrapped in a beautifully crafted package. If you're a fan of artful and unconventional horror that pushes boundaries and challenges traditional genre conventions, this film is a must-see. It's an erotic and atmospheric journey into the realm of the undead that will leave you both fascinated and bewitched.
Unfortunately dull
missmonochrome31 December 2005
Der Flutch der Schwarzen Schwestern (called by it's UK release title The Devil's Plaything, on my copy)is an experiment in eroto horror that never really takes off.
What plot there is to be had involves the spirit of a vampiric baroness whom has been kept alive by her cult of attendants, so as to possess the body of a young woman and be reborn. Once resurrected, she can continue her bloodlust eternally, provided she drinks the blood of the descendants of her executioners.
The stilted dialogue and even worse acting make the storyline damned hard to follow (worsened by a very poor audio mix and no subtitles).
It's pretty evident the plot is a wash about 15 minutes in, and had there been enough half clothed starlets, all would've been forgiven.
Instead there's random cut scenes of naked girls dancing to bongos(while wearing body paint reminiscent of extras from Laugh In), lots of spell induced heavy breathing in sheer nighties(resembling those shampoo as orgasm Herbal Essences commercials) and a weird incest subplot, with the girls being fairly below par overall (The castle's housekeeper/leader of the cult is probably the worst of the lot, looking like a man in drag in most camera angles) This movie is fence sitting between the two genres, and it's lack of commitment to either is what makes it a lot less interesting than it could've been. There's too little plot to be scary (having actors look about aimlessly is not an effective suspense building tool) and too little quality skin to be sexy.
3 stars. (1 for genuine castle setting, 1 for the god awful shadow puppet special effects in the bat attack scene, 1 for an interesting but wasted premise)
What plot there is to be had involves the spirit of a vampiric baroness whom has been kept alive by her cult of attendants, so as to possess the body of a young woman and be reborn. Once resurrected, she can continue her bloodlust eternally, provided she drinks the blood of the descendants of her executioners.
The stilted dialogue and even worse acting make the storyline damned hard to follow (worsened by a very poor audio mix and no subtitles).
It's pretty evident the plot is a wash about 15 minutes in, and had there been enough half clothed starlets, all would've been forgiven.
Instead there's random cut scenes of naked girls dancing to bongos(while wearing body paint reminiscent of extras from Laugh In), lots of spell induced heavy breathing in sheer nighties(resembling those shampoo as orgasm Herbal Essences commercials) and a weird incest subplot, with the girls being fairly below par overall (The castle's housekeeper/leader of the cult is probably the worst of the lot, looking like a man in drag in most camera angles) This movie is fence sitting between the two genres, and it's lack of commitment to either is what makes it a lot less interesting than it could've been. There's too little plot to be scary (having actors look about aimlessly is not an effective suspense building tool) and too little quality skin to be sexy.
3 stars. (1 for genuine castle setting, 1 for the god awful shadow puppet special effects in the bat attack scene, 1 for an interesting but wasted premise)
we don't even get a bloody bite till over an hour in
christopher-underwood1 September 2014
As has been suggested by others, this is rather disappointing. I've enjoyed all the films of Joseph Sarno, that I've seen and I suppose the most attractive common denominator in the US ones is the normalcy. If not in the characters, necessarily then certainly in the way that the sexual activity is shot, there is a certain frisson for the viewer because we believe into the activity. Here with a vampire tale we are already somewhat distanced and the way this is shot (more like a witch's tale than vampire one) this has to be fantasy. So, vigorous, though the sex is and effective though it is, the one thing it lacks is believability. There are some decent scenes and much nudity but this is no great shakes as a vampire movie - we don't even get a bloody bite till over an hour in - instead there are the constant comings and goings of the coven, sorry vampire lair, and just occasional scenes of visceral action.
Spoilers follow ...
parry_na13 October 2016
Warning: Spoilers
Baroness Varga was put to death 400 years ago for her Bathory-style attraction to human blood, and she put a curse on the place. She promised to return one day, and it appears that time has come.
Hungarian actress Nadja Henkowa plays Frau Wanda Krock, the housekeeper, who bears a passing resemblance to singer/songwriter PJ Harvey. She is is head of a coven of stern eye-browed maidservants who 'welcome' a disparate crew of travellers forced to seek refuge in her castle due to stormy weather (Henkowa's performance is my favourite in the film – a fine balance of brooding menace, fearsome rage and passionate sensuality). The characters address each other with exquisite politeness, but a tone of condescension and abhorrence. In the great cellars of the castle, you see, erotic rituals are taking place that imply the maidservants are not so straight-laced after all. Apart from Henkowa, who steals every scene she is in, Marie Forså is very good as Helga. Her transformation from seemingly 'innocent' to something far more provocative is well played.
Everything you need for a typical Euro-horror is here – much stilted acting, bare-breasted erotica, unconvincing day-for-night shots and a genuine crumbling castle set in spacious, beautiful locations.
This Swedish/Swiss/German collaboration is directed by Joseph W. Sarno, who began his pioneering work in the sexploitation genre in 1961 with 'Nude in Charcoal', before venturing into more explicit territory.
The story is regularly padded out/interrupted/enlivened (the choice is yours) with lingering sex scenes of varied persuasion. The resulting film is vastly overlong and has a disappointingly low-key ending, but nevertheless, is a very enjoyable example of its genre. The physical and mental connection between vampire-like curses and sensuality has always been a selling point, and is portrayed quite explicitly and very effectively here. Although it could be argued that the whole venture is just an excuse for lots of heaving breasts and softcore activity, and that the performances (from a cast who are not speaking in their native tongues) are typically 'Euro trashy', this is a powerful meeting of sexuality and dark rituals - complete with phallus-shaped candles and a tribal drum-beat that will stay with you long after the film has ended!
Hungarian actress Nadja Henkowa plays Frau Wanda Krock, the housekeeper, who bears a passing resemblance to singer/songwriter PJ Harvey. She is is head of a coven of stern eye-browed maidservants who 'welcome' a disparate crew of travellers forced to seek refuge in her castle due to stormy weather (Henkowa's performance is my favourite in the film – a fine balance of brooding menace, fearsome rage and passionate sensuality). The characters address each other with exquisite politeness, but a tone of condescension and abhorrence. In the great cellars of the castle, you see, erotic rituals are taking place that imply the maidservants are not so straight-laced after all. Apart from Henkowa, who steals every scene she is in, Marie Forså is very good as Helga. Her transformation from seemingly 'innocent' to something far more provocative is well played.
Everything you need for a typical Euro-horror is here – much stilted acting, bare-breasted erotica, unconvincing day-for-night shots and a genuine crumbling castle set in spacious, beautiful locations.
This Swedish/Swiss/German collaboration is directed by Joseph W. Sarno, who began his pioneering work in the sexploitation genre in 1961 with 'Nude in Charcoal', before venturing into more explicit territory.
The story is regularly padded out/interrupted/enlivened (the choice is yours) with lingering sex scenes of varied persuasion. The resulting film is vastly overlong and has a disappointingly low-key ending, but nevertheless, is a very enjoyable example of its genre. The physical and mental connection between vampire-like curses and sensuality has always been a selling point, and is portrayed quite explicitly and very effectively here. Although it could be argued that the whole venture is just an excuse for lots of heaving breasts and softcore activity, and that the performances (from a cast who are not speaking in their native tongues) are typically 'Euro trashy', this is a powerful meeting of sexuality and dark rituals - complete with phallus-shaped candles and a tribal drum-beat that will stay with you long after the film has ended!
Sarno does the devil
BandSAboutMovies25 October 2023
Warning: Spoilers
Monica (Ulrike Butz) and Helga (Marie Forså) are the guests at a huge castle where a will is about to be read. The girls will need to stay there for a year to claim the estate of Baroness Varga, who was burned at the stake for being a vampire hundreds of years ago. They're joined by folklore scholar Dr. Julia Malenkow (Anke Syring) and her brother Peter (Nico Wolf) crash in the woods nearby. They are descendants of the women who killed Varga, which probably won't go all that great with the castle's maid, Wanda (Nadia Henkowa), who conducts nightly lesbian rituals devoted to the fallen blood countess.
Also known as Vampire Ecstasy, this feels like it fits right in with Jess Franco and Jean Rollin's vampire women. I say that as a compliment. Unlike many of his New York City-shot movies, director and writer Joe Sarno shot this in an actual castle owned by the relatives of producer Christian Nebe.
Other titles include The Curse of the Black Sisters, Plaything of the Devil and Veil of Blood.
Also known as Vampire Ecstasy, this feels like it fits right in with Jess Franco and Jean Rollin's vampire women. I say that as a compliment. Unlike many of his New York City-shot movies, director and writer Joe Sarno shot this in an actual castle owned by the relatives of producer Christian Nebe.
Other titles include The Curse of the Black Sisters, Plaything of the Devil and Veil of Blood.
Flaws, sleaze, and all, it's better than too many straightforward horror flicks can claim
I_Ailurophile29 October 2023
Sometimes it's not until after you've started watching a movie that you realize just what it is that you've committed to. I'll say this for filmmaker Joseph W. Sarno, he doesn't make any bones about what type of picture this is; from the opening scene we're treated to gleeful nudity, and this will prove to be the primary constant through 'The devil's plaything' (also known as 'Vampire ecstasy'). Plot is a concern no more than secondary to eroticism; where that plot is given treatment the storytelling is very direct, but it is pushed to the corners to instead chiefly spotlight horror happenings of various strength, slight atmosphere, and above all female nudity, and sensuality of a primarily sapphic variety. It's more than a little cheesy, dubious, and exploitative, is sometimes downright laughable in its self-seriousness, and is at least as likely if not more so to raise a quizzical eyebrow rather than inspire the intended heat. Despite all that, though, it's also arguably more successful as a horror flick than too many of its kin. No matter how you want to look at it this isn't a great film, but all told, it's not bad!
The tale weaves in classic horror notions of vampiric manipulation, seduction, and glamour; vengeance from beyond the grave, black magic, and dark rituals. The feature also toys inconsistently with the tried and true storytelling tropes of a vampire's vulnerabilities, which in my opinion only grow more tiresome and questionable over time, but so it goes. It's just that these horror notions are explicitly and unabashedly turned toward sexual energy, and commonly realized in that manner. Some moments are more successful than others in fostering delightfully sinister vibes; some moments are more earnestly tantalizing than others with the foremost bent of passion. Strictly speaking some instances of acting are more sincere than others, though Sarno's direction is just as likely to be responsible in that regard, and in the very least no one could ever accuse the cast of not being committed and applying themselves. All the while, the filming locations are outstanding, the art direction is splendid, and the costume design, hair, and makeup are lovely (if sometimes kitschy). Even as some bits are especially weak, in general terms of orchestrating shots and scenes Sarno is certainly no slouch, and I appreciate Steve Silverman's cinematography. Repetitive as the ritualistic music is, I can't say Rolf-Hans Müller's composition isn't enchanting, and other themes that are employed sparingly and lightly are nice. Say what one will about the storytelling slant, this is actually quite well made.
What it quite comes down to is that while Sarno tried to make a seedy, sleazy softcore variation on a vampire flick, he managed to also make one that's more capable and interesting than plenty of other straightforward horror titles. There are no few points of deserved criticism, yes; the plot gets very wishy-washy at times, not least in the last stretch, and the ending makes sense only if one operates on the constant assumption that "good guys" always have to win, no matter what it takes to arrive at that resolution. But more than not I think meaningful discussion is warranted more than abject negativity. It's not as good as it could have been, but it's better than it has any reasonable right to be; I genuinely enjoyed watching, which is the last thing I expected to be saying right now. By no means will this appeal to everyone, and I can't begrudge those who view it more disparagingly. Flaws and all, however, 'The devil's plaything' is a modestly commendable take on the vampire flick, and I would gladly offer it as a gentle recommendation for those who are receptive to the approach it adopts. Don't go out of your way for it, but if you do have the opportunity to watch and are open to fare that honestly blends eroticism and horror, this is a good time overall!
The tale weaves in classic horror notions of vampiric manipulation, seduction, and glamour; vengeance from beyond the grave, black magic, and dark rituals. The feature also toys inconsistently with the tried and true storytelling tropes of a vampire's vulnerabilities, which in my opinion only grow more tiresome and questionable over time, but so it goes. It's just that these horror notions are explicitly and unabashedly turned toward sexual energy, and commonly realized in that manner. Some moments are more successful than others in fostering delightfully sinister vibes; some moments are more earnestly tantalizing than others with the foremost bent of passion. Strictly speaking some instances of acting are more sincere than others, though Sarno's direction is just as likely to be responsible in that regard, and in the very least no one could ever accuse the cast of not being committed and applying themselves. All the while, the filming locations are outstanding, the art direction is splendid, and the costume design, hair, and makeup are lovely (if sometimes kitschy). Even as some bits are especially weak, in general terms of orchestrating shots and scenes Sarno is certainly no slouch, and I appreciate Steve Silverman's cinematography. Repetitive as the ritualistic music is, I can't say Rolf-Hans Müller's composition isn't enchanting, and other themes that are employed sparingly and lightly are nice. Say what one will about the storytelling slant, this is actually quite well made.
What it quite comes down to is that while Sarno tried to make a seedy, sleazy softcore variation on a vampire flick, he managed to also make one that's more capable and interesting than plenty of other straightforward horror titles. There are no few points of deserved criticism, yes; the plot gets very wishy-washy at times, not least in the last stretch, and the ending makes sense only if one operates on the constant assumption that "good guys" always have to win, no matter what it takes to arrive at that resolution. But more than not I think meaningful discussion is warranted more than abject negativity. It's not as good as it could have been, but it's better than it has any reasonable right to be; I genuinely enjoyed watching, which is the last thing I expected to be saying right now. By no means will this appeal to everyone, and I can't begrudge those who view it more disparagingly. Flaws and all, however, 'The devil's plaything' is a modestly commendable take on the vampire flick, and I would gladly offer it as a gentle recommendation for those who are receptive to the approach it adopts. Don't go out of your way for it, but if you do have the opportunity to watch and are open to fare that honestly blends eroticism and horror, this is a good time overall!
Great sleepwalk flick
cmodzins12 November 2001
Well, if you are looking for a great mind control movie, this is it. No movie has had so many gorgeous women under mind control, and naked. Marie Forsa, as the busty Helga, is under just about everytime she falls asleep and a few times when she isn't. One wishes they made more movies like this one.
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