Martyn's Top Ten Vampire Films

Published on November 11, 2009 by Martyn Conterio   ·   View Comments

The vampire has been a key figure in folklore, literature, television and cinema. Its popularity, at present, has never been so high. It is easy to see the appeal: immortality and sex. Since death is the fate that awaits us all, a creature that we invent and imbue with an indeterminate lifespan, captivates the collective imagination like no other. Due to sexual liberalism and relaxed censorship of the 1960s, the erotic sensibilities inherent in the mythology were allowed to fruition in cinema. What once was implied, could now be shown in all its sexy glory (see the films of Jean Rollin). Gothic horror and romanticism may be the classic home of the vampire, but in cinema, they have found a new place to spread wider-reaching nightmares.

In recent times, the everlasting monster has been tamed. Stephanie Meyer’s Twilight Saga saw them turn into something akin to vegetarians and teen heart-throbs, whilst in HBO series True Blood, they are attempting to assimilate with the human population. They are part of a long tradition of storytelling and transformation. In ancient Greece the figure of the Lamia served as an early vampire-like demon. In medieval times they were linked to historical figures such as Vlad Tepes and Elizabeth Bathory. In literature, John Polidori used his former patient Lord Byron as a template for his novella The Vampyre.

Count Dracula and his nefarious breed have served as fertile ground for filmmakers since the birth of cinema. The rat-like features of Max Schreck in Nosferatu (1922) soon evolved into the suave, intense theatrics of Bela Lugosi in Universal’s Dracula (1930). The evolution of the creature has never halted. Each generation recreates the myth amidst new contexts, ideas and narratives.

This list brings together the cinematic history of the vampire in various forms, guises and styles. Please feel free to comment and add your own suggestions. So…in no particular order:

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Vampire’s Kiss

(dir: Robert Bierman, 1989)

Nicolas Cage ate a cockroach. Not once. But twice. Why? Well, in his old mad method acting days, he wished to emulate the insect-eating figure of Renfield from Bram Stoker’s novel Dracula. It is a grotesque, albeit, thrilling moment in one of Cage’s most underrated performances and films. Robert Bierman’s brilliant satire on 1980s New York uses the iconography of a vampire movie to chart a man’s mental breakdown. From the start, it is quite clear that Peter Loew (Cage) is barking mad. He is more paranoid schizophrenic that creature of the night, but this guy’s descent into madness is utterly compelling as he buys plastic fangs, turns his bed into a makeshift coffin and runs through the streets screaming, “I’m a vampire! I’m a vampire!”

In the end, as the eccentricities have developed into serial killing ways, Loew gets his comeuppance in a brilliant denouement that the character, no doubt, finds very satisfying.

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Dracula Has Risen From the Grave

(dir: Freddie Francis, 1968)

Directed by one-time David Lynch collaborator and all-round cinematography genius Freddie Francis, Dracula Has Risen From the Grave, is one of the Hammer studios most enduring films.

After Hollywood turned Count Dracula into a parody, it took a British studio to reclaim him and re-invent the genre whilst they were at it. Christopher Lee brought a new kind of vampire to the screen. He was noble, frightening (with his fiery-red eyes) and had buxom women falling at his feet. The mixture of night-for-day scenes, lush cinematography and set design help develop a querulous, dreamlike atmosphere. It is undoubtedly one of the masterpieces of the vampire genre.

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Nosferatu: A Symphony of Horror

(dir: F.W. Murnau, 1922)

In many ways where it all began. Friedrich Wilhelm Murnau’s landmark expressionist feature is loosely based on Bram Stoker’s novel and heralded the cinematic birth of the vampire proper. The widow of Stoker prevented an out-and-out adaptation and bizarrely asked for all copies of the film to be burned. Of course, such ludicrous over-reaction was not acted upon.

Max Schreck’s sinewy, rat-like Count Orlock is as unsettling today as he was back in the 1920s. Despite its melodramatic acting, Nosferatu retains its mysterious charm to this day. With its mixture of location shots and heightened use of shadow-play, this iconic picture will always be remembered as a major step forward in the horror genre and film history.

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The Fearless Vampire Killers

(dir: Roman Polanski, 1967)

There is a merciless, pessimistic air prevalent in pretty much all of Roman Polanski’s work. At the same time there is a gloriously dark sense of absurdity and humour. A notorious filmmaker for several reasons, this French-Polish iconoclast, in the late 1960s produced one of his best (and silliest) films.

It delivers an excellent pastiche of the Hammer studio aesthetic (although a comedy, the film is very creepy). Telling the story of an eccentric vampire hunter (Jack MacGowan) and his apprentice Alfred (Polanski) battling Count von Krolock – a vampire who has kidnapped the beautiful peasant Sarah (Sharon Tate) – it is filled with pratfalls, jokes on necrophilia and inspired visual gags. Director Stephen Sommers paid homage by lifting the “dance of the vampires” scene for his own use in the bloodless Van Helsing (2004).

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Martin

(dir: George A. Romero, 1977)

George A. Romero may be the “King of the Zombies” but his contribution to the vampire genre is just as groundbreaking. Like Vampire’s Kiss, Romero insinuates mental illness into the set-up, offering a more psychological horror aspect as opposed to solely fantastical elements.

Shot on a very low budget, it is a compelling slice of cinema and Romero has fun toying around clichés relating to vampire legends. A great edition to the genre.

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Blade 2

(dir: Guillermo del Toro, 2002)

Mexi-can Guillermo Del Toro had visited the vampire flick with his excellent feature – Cronos (1993). However, given the chance to recalibrate a superhero-vampire hybrid, Del Toro turned in, not only one of his coolest films, but the best and most kick-ass edition to another-wise disappointing franchise.

Blade 2 is a great action film with the brilliant idea of including a new species of vampire known as Reapers, who are even a threat to the average bloodsucker. It gets a big lift from the addition of Ron Perlman’s snarling, vampire-killer Reinhardt, too. Not Del Toro’s best film by any stretch, but it showcases his inventiveness in comic-book/fantasy-based outings that would be seen later in the Hellboy series.

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Let The Right One In

(dir: Tomas Alfredson, 2008)

Swedish cinema is known for its dour, existentialist dramas where everybody is on the verge of suicide. It now has the distinction of creating one of the most original and beautiful vampire films ever made.

Based upon a novel by John Ajvide Lindqvist, the story focuses on Oskar, a lonely and bullied 12 year old who befriends Eli who has moved into the house next door. Turns out she’s a vampire. But that’s okay! Because they fall in love. Even the title refers to the fact vampires can only be invited into a person’s home, as well as a notice against falling in love with the wrong person. It is a tender, if bloody and odd relationship movie.

As ever Hollywood has got its grubby hands on the remake rights and Cloverfield helmer Matt Reeves is directing. Strangely, the title has been altered to Let Me In. Does not bode well.

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From Dusk Till Dawn

(dir: Robert Rodriguez, 1996)

Quentin Tarantino plays havoc with genre by splicing together the road-movie and gangster flick with vampires. It should be a total mess (and it has its critics), but Robert Rodriguez’s sure-fire directing and memorable dialogue, make Dusk ‘Til Dawn a total blast.

George Clooney, with his iconic (and much copied) tattoo, is a fierce presence, announcing to all the world: “I’m too big for television!” His charming, lethal killer Seth Gekko is easily the coolest of the gang. Delivering his dialogue with relish and well-timed comedic threat; “You touch my brother with that stake, biker, and vampires won’t have to suck your blood. They’ll be able to lick it up off the floor,” the whole film is a hoot. Also, featuring a wonderful performance from Salma Hayek – who must be one of the sexiest vampires of all-time. Until she turns into a prosthetic monster, of course.

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Nadja

(dir: Michael Almereyda, 1994)

Nadja is a quirky prospect. Shot in moody black & white with a soundtrack consisting of tracks by the likes of Portishead, it is a re-imagining of the vampire legend shot through with a 1990s indie vibe.

Produced by none other than maestro David Lynch (who features in a cameo as a morgue attendant) and starring Martin Donovan and Peter Fonda, it will not be everyone’s cup of tea (or blood), but it remains an impish, black comedy take on the Dracula myth.

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Fright Night

(dir: Tom Holland, 1985)

Imagine if a vampire moved next door? Whilst the similarities to “Let the Right One In” end there, Fright Night is one of those films that gets by on its brilliant central premise than it does anything else. It is a very 1980s style film, and not dated terribly well. Alas, it remains a pleasurable viewing experience.

It all starts when Charley (William Ragsdale) is convinced his new next door neighbourhood is one of the undead and sets out to prove it with his best friend Evil Ed and a television presenter of the eponymous Fright Night. It produced a not-very-good sequel which pit’s the hero against the sister of Chris Sarandon’s vamp, proving the original had more bite.

Tags: feature, top ten, vampire films

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