"The Slaughter of the Vampires" is an ambiguously titled (are the vampires doing the slaying here or being killed off themselves?) Italian horror outing from 1962. A fairly paint-by-numbers affair, though filmed in B&W, the film reunites stars Walter Brandi and Alfredo Rizzo from the earlier "Playgirls and the Vampire." Here, Brandi plays Wolfgang, a nobleman in an unnamed country whose new wife, Louise, played by the luscious Graziella Granata, is being preyed on by a vampire so generic that we never even learn his name; call him The Vampire. As portrayed by Dieter Eppler, this neck nosher is so very compelling that poor Louise gives in to his charms almost immediately, soon becoming a most, uh, toothsome vampiress herself. Good thing that Wolfgang has been given the address of a most van Helsing-like doctor in nearby Vienna.... Offering absolutely nothing new to the vampire mythos and no new spins on this hoary staple of the horror genre, "Slaughter" yet has enough pleasurable aspects to merit it a mild recommendation. For one, Eppler is pretty darn impressive as the undead seducer, and when he speaks, his words are like pure poetry. The film has been given some interesting directorial touches and camera angles by Roberto Mauri, actually does have atmosphere to spare, and builds to an exciting conclusion. Perhaps best of all, a piano-dominated, dreamy and evocative score has been provided by Aldo Piga that effectively brings an air of otherworldliness to the entire affair. The picture really isn't that bad; just completely unoriginal and wholly derivative. Anybody out there know the Italian expression for "been there, done that"?

This is by no means a great film, but it has a certain over the top romanticism about it that's very effective in creating a strange, other worldly atmosphere.Unbeknown to the new owners of a refurbished castle, a vampire has taken up residence in the cellar. At a housewarming party, the aristocratic stranger dances with the beautiful wife of the bland hero, and then leaves, causing much gossip as to his identity and purpose. Later, he attempts to seduce the wife in her bedchamber, but her frightened screams drive him away temporarily.The best part of the movie comes next. The wife wakes up next to her sleeping husband, and goes out into the moonlit garden in her revealing negligee. She sits on a marble bench and looks frightened, but also as if she were waiting for someone. A man's voice calls to her and she looks around fearfully, asking who it is and why she can't see him. The vampire comes out from behind a hedge and hands her a bouquet of flowers, and declares his love for her. She takes the flowers, even as she stammers that she's married. The vampire makes a poetic speech about how her beauty outshines the stars. By the time he gets through, she is flinging herself passionately into his arms.This is great stuff. The vampire nobleman is obviously derived from Stoker's Count Dracula, and his courtship of the wife is unadulterated romanticism, even if a bit corny for some viewers.Graziella Granata is one of the most stunningly beautiful women ever to appear in any Italian horror movie, and her low cut gowns and night dress reveal plenty of her fabulous figure.Yes, the dubbing is poor, and the acting mediocre, and the dialogue foolish, the plot muddled, etc. But from the moment when the vampire ( who interestingly enough is never named; so he might actually be Count Dracula) appears at the party and dances with the wife, this movie had me hooked. The eroticism underlying all vampire stories is fully on display here, and well worth the inconvenience of putting up with the less inspired aspects of the movie.

"Slaughter of the Vampires" was made around the same time as another Italian Vampire film, Mario Bava's classic "Black Sunday". Unlike "Black Sunday", there isn't the sense of atmosphere or thrills. "Slaughter of the Vampires" plays out pretty much like any other run-of-the-mill Vampire flick. The dubbing is only average. The film plods along at times and there is little in the way of action. The Italian countryside locales are beautiful though. I also have to admit that the women are quite lovely(I may be a little biased due to my Italian heritage). The film isn't a total loss though I wish it were better than the title suggested. Worth a peek.

Here's a "full-blooded", old-fashioned (some might say out-dated), baroque Italian vampire opus which deserves a better reputation than it's achieved. Although Hammer Studios merits credit for re-popularizing the moribund Gothic horror genre in the early 60s, the contemporaneous Latin (Italian, Spanish and Mexican) efforts usually evoke a more authentically Romantic and decadent atmosphere. This one features overwhelmingly ornate sets; voluptuous ingenues with inviting dark eyes and heaving bosoms; high-collared, flouncy-vested Don Juans; absurdly stilted dialogue; and a lush, intrusive score full of piano glissandos, piercing oboes, and even a theremin during the vampire seductions. The deliberate pacing serves to intensify the well-timed shocks, there are some clever camera set-ups, and fine shadowy photography (particularly during the dungeon-set climax). Fans of fast-paced, violent, revisionist horror will think it a dinosaur, but connoisseurs should find it greatly satisfying.