Laikals The greatest movie ever made..!

NekoHomey Purely Joyful Movie!

Phonearl Good start, but then it gets ruined

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Cineanalyst Director Jesús Franco had already directed an impoverished international adaptation of Bram Stoker's novel "Dracula" the prior year. At least, that film managed to attract two acclaimed actors in Christopher Lee and Klaus Kinski, both of whose careers would include being in better Dracula movies made by others (Lee had and would continue to star in Hammer's series, and Kinski went on to be in Werner Herzog's 1979 "Nosferatu"). "Vampyros Lesbos" has lesbian vampires and nudity. The 1970 Dracula was closer to Stoker's text than most adaptations; "Vampyros Lesbos" is a very loose reworking or continuation of the novel. Neither one does anything especially intelligent, though.Here, Linda repeats, from Stoker, Jonathan Harker's business trip to a vampire's lair (this time on an island, presumably Lesbos), where the Countess Nadine Carody, perhaps intentionally, offers a twist on Bela Lugosi's famous line ("I never drink... wine.") from the 1931 "Dracula," saying, "I love red wine." Apparently, Linda is overseeing the Countess' inheritance from Count Dracula. Not that it matters; the story is poorly developed, and this Dracula connection only serves to bring the women together. There's another woman named Agra who plays the Renfield-type character here in Dr. Seward's asylum. Seward, meanwhile, doubles in the role of his namesake from Stoker as well as the Van Helsing type. Appropriately, Agra isn't a bug eater like Renfield. She's another lesbian, but frustrated by the celibacy of being locked in a cell. Agra and Linda are both blondes, which is a bit confusing for a moment, because, for a while, they're both committed to Seward's asylum.This rehashing of Stoker's book is enough story for a short film, but Franco and company add a bunch of filler to drag it out to feature length. There are long stretches that rely too heavily on the musical score—making this, at times, appear more like a music video rather than a film. There are numerous location shots serving no narrative purpose. The many insert shots of a scorpion are loosely connected to the story in the end, but would have been better left out. The shots of a moth never make sense. Franco himself has an on-screen role as a woman killer, a part that seems as though it were filmed as an afterthought for further runtime padding. It has nothing to do with the main Sapphic vampire plot, and it should've been entirely excluded.Besides being a countess, Nadine also performs at a nightclub (yeah, it makes no sense), which she exploits to suck the blood from her nude-female counterpart on the stage. Linda watches this performance in the film's beginning, and the performance is again replayed later. I guess, though, that Linda's viewing of it may've been explained as a dream. There's also a repeated voice-over of Nadine saying Linda's name. Some have claimed this filler to add to the film's dreamlike and psychedelic atmosphere, but in my sober state, I fail to appreciate it. This isn't a poor-man's or an exploitative edition of Carl Theodor Dreyer's "Vampyr" (1932); it's just bad.Which can be good, but I prefer trashy, poorly-made movies to be funny. This one isn't; instead, it flails between the artsy and erotic and mostly fails at both. Somewhat funny, however, is the non-Seward shrink business. Not only does Linda see one, but there's also a scene where the Countess lies on a bed submitting herself to the mute psychotherapy of a male vampire, as she, ironically, talks about how she hates men. Linda's quack, meanwhile, doodles a diagram seemingly depicting the filming of a vampire movie! This one, perhaps. Too bad the doodle doesn't offer any rationale for Franco's obsession with zoom shots. I would've enjoyed his Dracula movies much more without the constant zooming in and out. Especially bad is how some of the zooms are telegraphed by the shots, at first, being out of focus. Narratively, "Vampyros Lesbos" likewise lacks focus; it's soft- focus, soft-core erotica.(Mirror Note: The Countess uses a mirror, which casts her reflection, in the nightclub performances. The male vampire's reflection is also seen in the finale. Franco demonstrated that he knew Dracula didn't cast reflections in his 1970 adaptation. "Vampyros Lesbos" isn't a strict adaptation, so I'm not especially offended by these vamp reflections, although the mirror shots aren't interesting otherwise.)

Sam Panico Sometimes, when you watch a horror film, you're lied to by a title which promises you something that the film cannot or will not deliver. Not so with Jess Franco's Vampyros Lesbos. Franco promises you lesbians and vampires and he delivers.He also delivers plenty of late 60's style and a space age jazz soundtrack that threatens to take over your mind. In fact, I had the soundtrack way before I had the movie, as it was re-released in the 1990's.Countess Nadine Carody (the sublime and sadly departed Soledad Miranda) lives on a remote island where she puts on a seductive burlesque act every night that entices unwary women. Now, she has her eyes set on Linda, who starts dreaming of her.Somehow, somewhere in all these lesbionic dreams, Linda finds Memmet torturing a young woman. It's probably of worth to note that the director of the film, Franco, plays the torturer.Then, Linda finds Nadine's home, the former residence of Count Dracula. Linda gets dizzy off wine, the two women have sex and Nadine drinks from Linda's neck. Upon awakening, Linda finds Nadine floating motionless in a pool and awakens screaming in a mental asylum.That said — Nadine is alive and explains to her familiar, Morpho, how Dracula turned her. Now, she feels that she must turn Linda. Nadine keeps coming back to her, then reappearing in the mental hospital, so Dr. Seward (Dennis Price, Twins of Evil, Theater of Blood) explains that if she wants to defeat the curse, she must split a vampire's head with an axe or pierce it with a pole.Let me see if I can sum up the insanity of the next few minutes: Linda is kidnapped by Memmet. Dr. Seward wants to become a vampire, Nadine refuses and Morpho kills him. Memmet explains that all women who meet Nadine become insane, including his wife, so he must kill them all. Linda kills him with a saw, then returns to Nadine. Instead of giving her the blood she needs to survive, she stabs her in the eye, wanting to belong to no one. Morpho kills himself. And finally, Linda's boyfriend tries to convince her that this was all a dream.If you're seeking a film that makes narrative sense, you should just leave this one on the shelf. If you're seeking an erotic, psychedelic freak out with some amazing music, then you've found the right film. While some compare Franco to Ed Wood, in this film, he's hit his high water mark.Read more at http://bit.ly/2guqlVD

codseyes Just close your eyes and imagine yourself in a sleazy cinema / strip club, circa 1975...The shots are well framed (hehehehe) but the action and plot are a little lacking. The actresses are good, but why the elderly / mustachioed-ed male counterparts? Neither the vampire nor lesbian motivation of the girls is convincing. Neither hungry nor horny.... ;)This movie was recently shown on the French art house channel Arte... I guess vintage perv has become legit.

paudie This is often described as Jess Franco's masterpiece and I was looking forward to seeing it. To be honest I was disappointed. Soledad Miranda as the vampire brings Linda (Ewa Stromberg) to the island she lives on to seduce her. In a way that isn't really explained Stromberg is found floating in the water and is treated as a "Jane Doe" in an exclusive psychiatric clinic by Dr Seward (Denis Price), himself fascinated by vampires. The vampire comes back for Linda and the film moves to a predictable conclusion. Of course watertight story lines aren't to be expected from 70's Euro vampire movies but this isn't where the film disappoints. Franco surrounds the paper-thin plot with long stylish set pieces but it doesn't stop the movie from being painfully slow at times.Franco is besotted with the gorgeous Miranda. Understandable but he thinks that simply having her lovely brown eyes staring mysteriously into the distance is enough for most scenes in the film. He also sees nothing wrong with showing her perform the same long dance routine at both the start and towards the end of the movie.Stromberg is good as the object of the vampire's attention, having to display (slightly) more acting range than Miranda, as she has to look worried, puzzled and terrified as well as entranced.Overall then not the classic I hoped for but definitely a must see for anyone with an interest in this genre. The at times hilariously over the top 70's music will probably bring a smile to your face. It certainly reminded me of the Austin Powers movies soundtracks.