THE VAMPIRES' NIGHT ORGY 1974

  

       A busload of disparate people including Dyanik Zurakowska from FRANKENSTEIN’S BLOODY TERROR and THE HANGING WOMAN are all on their way to an unnamed aristocrat for employment purposes when they're suddenly stranded in the remote Spanish countryside when their driver suffers a fatal heart attack. The group finds themselves at desolate looking throwback village that is strangely deserted (along with not appearing on any map) and taking shelter in an inn they discover another a stranded traveler in form of Jess Franco stock player and Blind Dead alumnus Jack Taylor (HORROR OF THE ZOMBIES and DR. JEKYLL AND THE WOLFMAN ) who’s car has broken down. The group settles down for the night and discover the occupants in the village the next morning with the nominal head of the town "The Major" (José Guardiola) who informs them that the entire village was absent because there were at a ceremony at the local cemetery (!). 
       The overseeing matriarch of the village referred to as "The Countess" is played by the very welcome presence of Helga Liné (HORROR EXPRESS & THE LORELEY'S GRASP). She takes pity on the stranded travelers offering them money along with everyone in the village also offering free room and board. Things begin to get a little grim however as the the countess asks one of the stranded passengers up to her estate to recite Shakespeare Soliloquy's (!). The young man eagerly accepts and a bit later even more eagerly jumps into bed with her. Suddenly bearing fangs the countess attacks him and then throws his body out the window down to a group of the now ravenous villagers. Eventually, most of the other passengers fall victim to vampire-like villagers with only Jack Taylor and Dyanik left alive at the end as they attempt to escape.

       Directed by Leon Klimovsky the film as with most Spanish horror from the period literally oozes Gothic atmosphere. One of the great things about Spanish horror (along with Italian) is that unlike the set bound horrors of Hammer if they needed a crumbling castle or ancient village they pretty mush just had to just to drive down the road a bit to find the real thing. Seemingly to almost to have grown out of the earth itself the village here is almost a character in the film and Klimovsky takes full use of of its crumbling moss grown walls and narrow streets. Klimovsky directed eight of Paul Naschy's films and although he's the director most associated with Naschy (and Spanish horror in general), I always preferred Calos Aured's work with Naschy. Kilmovsky films while workmanlike and serviceable seemed to lack a certain spark -  Naschy would later complain that he rushed through the productions. With that being said however ORGY is one of his stronger efforts as there's a genuine atmosphere of lurking doom with the constant grey overcast skies and the above mentioned village setting.
      There are a few instances of black humor (uncommon in Euro horror) sprinkled in the film as the stranded visitors are fed with contributions from various unlucky villagers whose appendages (which are the past off as roasts of various types) are hacked off by an axe wielding giant who intones "I'm here at the behest of the Countess" before chopping off an arm or a leg. There's also a gruesome bit of black humor with Dyanik finding a finger in her pot roast (left over from the donated arm for the evening meal) and the cook hastily summoned to the kitchen to get his finger hacked off to explain it away.

  

      VAMPIRES' NIGHT ORGY would appear to have a myriad of films that it draws inspiration from including H.G. Lewis's 2000 MANIACS (1964), the brilliant & unsettling MESSIAH OF EVIL (1973) and bizarrely MGM's musical BRIGADOON from 1954 (which could also be looked upon as a precursor to H.G. Lewis's above mentioned early splatter classic). It's also probably the closest a Euro horror ever came to a classic 1950's E.C. horror comic story plot-wise, as it even has a bit of cribbing from Joe Orlando's "Midnight Mess" from Tales from the Crypt #35 (which was used in 1973 Amicus anthology VAULT OF HORROR).
     The film leaves a bit of mystery to the proceedings as it doesn't stick hard and fast to the usual vampire rules as only Liné (who perhaps was the mysterious "aristocrat" that summoned the victims for "employment") appears to be a true vampire with the other villagers seeming to be something akin to zombie/possessed ghouls who that infect the unlucky visitors. There's a few terrific sequences including a young girl who's the child of one of the stranded bus passengers and who's lured to a cemetery by a mysterious local boy where they bury her doll which leads to a very creepy conclusion - and is followed up by her now possessed Mother searching for her. Another sequence on the seemingly deserted bus is reminiscent of a scene in Stephen King's 'Salems Lot.
      It's unusual to see Jack Taylor in the role of good guy hero, but being Jack Taylor he does engage in a some "peeping tom" fun in regards to Dyanik and a convenient handy hole in the wall. Helga Liné's participation in limited to about eight minutes of screen time in what is basically an extended cameo, but she is pretty unforgettable and makes for one heck of vampire.
     Code Red's dbl feature DVD pairs this with DR. JEKYLL AND THE WOLFMAN (which makes it a Jack Taylor dbl. feature) and contains the unclothed export version - which is the one to see if your a Helga Liné fan.

HORROR RISES FROM THE TOMB 1973

     1973's HORROR RISES FROM THE TOMB was one of four collaborations between Naschy and director Carlos Aured with the others being the giallo inspired HOUSE OF PSYCHOTIC WOMEN (1974), 1973'S THE CURSE OF THE DEVIL and Naschy's excursion in the mummy mythos, the very gory VENGEANCE OF THE MUMMY from 1973. It's always kind of interesting to see Naschy play a thoroughly despicable character as unlike the somewhat heroic and tragic figure of the werewolf Waldemar Daninsky, here as the resurrected warlock Alaric De Marnac he channels pure evilness.

     Often cited as a favorite among Naschy aficionados as its overflowing with Gothic atmosphere, (lots of) blood, along with nudity and a seemingly throw everything into the plot mentality (some Norse mythology is even worked in) that all add up to a highly entertaining slice of Spanish horror. Although filled with all these definite trappings (along with the very welcome presence of Helga Liné - always a plus) it also seems to have a bit of over the top sensibility to it (even comparatively speaking to other Spanish horror) with the protagonists able to disappear and reappear instantly (you keep waiting for them to twitch their nose ala' BEWITCHED) and Naschy's scenery chewing portrayal of the vengeance seeking warlock. In his introduction to the BCI disc Naschy remarks "remember just have fun". Balancing all this out somewhat is a dreamlike feeling running through the film with long stretches of little or no dialogue and a plot that leaves it up to the women characters to take the lead in the action as the men are shown to be rather ineffectual.

    Starting off in medieval France in a setting that every resurrected warlock/witch film is obligated to open with - the evil satanists receiving their comeuppance in a lonely desolate looking countryside. Being led to their execution in a slow moving ox cart is Alaric De Marnac (Naschy) along with his mistress Mabille De Lancre (Helga Line) while overseeing the proceedings is Hugo De Marnac (again Naschy - although with a scar) who condemns his brother to death by reading off a whole laundry list of various evil crimes the satanic pair have perpetuated including vampirism, lycanthropy, black magic, human sacrifices (the list goes on and on...). Alaric is beheaded (with a really nifty prosthetic head), but not before cursing his brother's descendants and Mabille is stripped, hung upside down from a tree and also killed (but not before she too gets to spew put a curse or two).

   Fast forwarding to present day Paris (or at the very least present day Paris via stock footage) we're introduced to Alaric's present day descendant Armand De Marnac (a third appearance by Naschy !) a womanizing playboy-type who counts among his friends a painter Maurice Roland (Víctor Alcázar from IT HAPPENED AT THE NIGHTMARE INN which is soon to be released on blu from Scorpion) who also happens to be a relative of one of the participants in prologue's medieval execution. Hooking up with their girlfriends and another couple they participate in a seance (never a good idea in 70's horror) and are rewarded with the apparition of Alaric's head floating over the table informing them of the location of his decapitated head (which happens to be on Armand's ancestral estate). Armand & Maurice along with their repective female companions decide to head up to the estate for a little "warlock head" scavenger hunt.

    Along the way they meet with some thieves who are quickly dispatched by some Paul Naschy ass-whoppin' and then a group of local villagers arrive (who are introduced in order to provide some more zombie warlock fodder later in the movie) to finish them off with a shotgun and a good old fashioned lynching. The theme of robbers lurking in wait on desolate roads is a common theme in Naschy's films and you wonder if that was referencing a incident in his life (although nothing is mentioned in his autobiography).

   Upon arriving at the estate they find the caretaker along with his two daughters and rather easily happen upon (thanks to Maurice going into a trance) the burial place of Alaric's head and thanks to meddling villagers it's soon "released" later to be joined with his body along with the resurrection of Mabille. Along with some vamparic plot elements in regard to the resurrected couple they also are sustained by ripping out their victims hearts (a favorite modus operandi of Spanish horror) and are able to taker over their victims minds/bodies and later after being bloodily dispatched by one of their minions they're able to resurrect the gory remains as zombies. This all sets up virtual cornucopia of beautiful women in lingerie wondering down hallways with candelabras, gory death by sharp farm implements, some NIGHT OF THE LIVING DEAD inspired zombie action and of course Helga Liné and a larger then usual cast of 70's Euro babes (unfortunately we do NOT get the hoped for Naschy vs. Naschy climatic duel). The make-up (with the the zombies being a standout) is particularly well done 

  

    Bizarrely some of the sequences that could have really been set up as something special are dispensed  rather unimaginatively such as a batch of zombies are shown shuffling through the misty swampland, but we're shown them in a faraway distant shot that initially is confusing to who they even are. In addition the resurrection of Alric's head and body is dispensed with in a perfunctory manor with his head simply plopped down in the coffin on top of the body and "whala" up he rises. Mabille's resurrection is handled a bit better with some vague necrophilia overtones and a bloody sacrifice. 

   As usual Naschy seems to have fun in a dual role (with even a bit of a trifecta here) and although he does embellish the modern hero type figure with a bit more personality then usual, it's obvious he's having a lot more fun in the evil warlock role. Although this is not my favorite Naschy it's still vastly entertaining and not to belabor the point, but the film is helped immensely by the presence of Liné (one of this blog's OTHER favorite actresses). With a gorgeous facial structure comprising a look both exotic and aristocratic she was born in 1932 in Berlin and also appeared with Naschy in the well worth seeking out VENGEANCE OF THE MUMMY. She also appeared with Barbara Steele in NIGHTMARE CASTLE (1964),  a sultry spy in 1972's HORROR EXPRESS, a heart tearing out reptilian river siren in THE LORELEY'S GRASP and a pretty unforgettable (in more ways then one) vampire in THE VAMPIRES' NIGHT ORGY. She worked steadily up till the mid 2000's and was still shedding her clothes into her 40's - most famously in the the very weird & twisted satanic thriller BLACK CANDLES from 1981(which is rumored to be getting a spankin' new HD release from Code Red at some point). 

   The film was partially shot at the Spanish country home of Naschy in the obvious dead of winter (snow is visible falling in several shots) which most have made it rather uncomfortable for the cast (especially in regards to the female ones). 

HORROR EXPRESS 1972

Archaeologists Peter Cushing & Christopher Lee along with a Rasputin-like Mad Monk, Telly Savalas as a Scenery Chewing Cossack AND a very Beautiful Helga Liné (!) & Silvia Tortosa (!) all battle a Fossilized Prehistoric Brain Sucking Alien (plus a trainload of Zombies !) whilst speeding along on the Trans-Siberian Express ! !

 "A Nightmare of Terror Traveling Abroad the Horror Express !"

      Throughout their long friendship and film career Christopher Lee and Peter Cushing made 22 movies together and while 1972’s HORROR EXPRESS might not be the best of them, it’s surely one of the most entertaining. Combining elements of Joseph Campbell’s short story Who Go’s there? (which formed the basis for the 1951 & 1980 versions of THE THING) along with Agatha Christie’s Murder On The Orient Express and even with a bit of Josef Von Sternberg’s SHANGHAI EXPRESS.

    A Spanish/British co-production directed by Eugenio Martín (who also directed the creepy A CANDLE FOR THE DEVIL) it has an intricate & cleverly well written script that while on the surface seems to contain a random mash-up of genre plot-lines, but however presents them in a way that allows each to be tied into one another and each of them to serve a purpose of moving the plot forward (usually as fast as the speeding train upon which the movie is set). Perhaps even more surprisingly it lays everything out in a cohesive fashion (that is as cohesive as you can get with brain sucking alien caveman/monster)and is a unique blending of English “Hammer” gothic type horror combined with the more “out there” WTF Spanish style. 

    Probably sharing more screen time & dialogue together here than any of their other collaborations (besides maybe HOUND OF THE BASKERVILLE) the script has some genuinely humorous lines and watching the stiff upper class character that Lee plays trading barbs with the twinkle in eye Cushing is almost as entertaining as the horror elements themselves, plus seeing them band together in a “Holmes & Watson” fashion to solve the mystery of the rampaging monster is a joy to behold. The cast is filled with familiar faces including Helga Line (THE VAMPIRES NIGHT ORGY and THE LORELEY’S GRASP), Silvia Tortosa (also LORELEY’S GRASP), George Rigaud (A LIZARD IN A WOMAN’S SKIN) and Julio Peña (WEREWOLF SHADOW). 

    Taking place In 1906 Lee plays Prof. Alexander Sexton who uncovers a frozen ape looking thing while on expedition in Manchuria. Arriving at the train station with his crated up specimen Sexton runs into his colleague and rival Dr. Wells (Cushing) who along with his assistant Mrs. Jones (Alice Reinhart) are also traveling via train. This sets up of the first of several wonderful Lee/Cushing dialogue scenes as Cushing slips a Ticketmaster some money to procure a berth on the sold out train and says to Lee “It's called "squeeze" in China and the Americans call it knowhow”, to which Lee (who reservation has been lost) replies “And in Britain we call it bribery and corruption” and sweeps the man’s desk clear with his cane. 

     While the crate is setting on the platform a thief tries to break into and is blinded (with his eyes looking like hard-boiled eggs) and a crazed looking monk (Alberto de Mendoza) declares that evil is located in the crate. Once everyone is aboard train were introduced to a cast of characters worthy of a pulp espionage adventure including out two rival archeologists, a spy (Helga Line) who’s interested in the secret formula for “steel harder then diamonds” held by a Count, the Counts daughter (Silvia Tortosa), a police inspector (Julio Peña ) and the above mentioned slightly lunatic monk. 

    Sexton’s specimen (it resembles a kind of creepy look ape) soon escapes by picking the lock on his crate. Later after the baggage man on the train meets the same fate as the thief Cushing gets to channel some Dr, Frankenstein as rolls up his sleeves and performs a quickie autopsy on him and discovers his brain completely smooth (“as a baby’s bottom”) with the conclusion being the creatures sucks out peoples brain memories thru their eyes leaving the bloody white orbs. This sets in motion the clever plot point of the creature moving thru various passengers gaining knowledge that in turn leads it to the next victim such as the thief's brain giving it knowledge to pick the lock (and plus is able to take over its victims body!). 

    Thanks to the retrieval of the creature’s eye and its dissection Cushing & Lee discover it’s an alien creature that’s been collecting knowledge in the hope of returning to its native planet and has been hanging around since the dinosaurs (this is known because a under a microscope a murky picture of a big ol’ dinosaur can be seen in the creature’s retina along a view of earth from space!?). The plot move along at a terrific pace with seemingly something new thrown in every few minutes and things get even better when a bunch of Cossacks led by the psychotic & scenery gobbling Telly Savalas all board the train and the creature's victims begin to rise back up as resurrected zombies ! 

    As mentioned the script contains some very witty moments such as when wondering who is now possessed by the monster the police inspector says to Cushing & Lee “The two of you together. That's fine. But what if one of you is the monster?” to which Cushing replies “Monster? We’re British you know”. In a story related by director Martin in the supplements of the Severin disc Cushing had signed to do this picture but then decided to back out at the last minute as he could not bear to leave England so soon after the death of his wife Helen, but Christopher Lee gently prodded him into going (and their friendship is fully on display here). 

    Composer John Cacavas (who also composed the music for AIRPORT 1975 & tons of T.V. stuff) contributes a strangely effective & atmospheric spaghetti western type score complete with whistling that is used to great effect and is used several times has actual music played on a piano or whistled by characters in the film. 

   An excellent example of 1970’s Euro Horror and a great place for the uninitiated to dip their toe into the water. After years of shoddy PD releases (this has to be tied with LADY FRANKENSTEIN for most crappy video releases) Severin released (under its Spanish title PANICO EN EL TRANSIBERIANO or PANIC ON THE TRANS SIBERIAN) a nice blu ray that has a fascinating 40 minute long audio interview with Cushing (where he’s hyping up Hammer’s FRANKENSTEIN AND THE MONSTER FROM HELL), a video interviews with director Martin, composer Cacavas and producer Bernard Gordon (who speaks of being blacklisted). Plus you get Helga Line in HD.

           

     

Helga Line