Introduction to Vampire Movies; or The History of Vampire Movies

Still from Vampyr
Still from Vampyr


My interest in this article is exclusively in vampire cinema. Vampire novels of course predate cinema and even furnish the content of the first vampire films (e.g. Dracula for Nosferatu, "Carmilla" for Vampyr). Vampire literature is a subject for another day. Vampire movies followed their own path. I will be highlighting key films the student of vampire movies should watch and placing them in their appropriate generic context. By 'generic context' I mean the inevitable progress and permutation a genre must undergo throughout history. Any film genre is composed of various structures, narratological and visual tropes, and character archetypes, all of which we might broadly call a 'formula.' As a genre becomes stagnant, a critical eye will eventually be turned upon the formula. The genre is then revitalized by what was learned under critique. It's a Hegelian sort of progress, with the formula as thesis, the critique as antithesis, and the renewed formula as synthesis. I will consequently look at vampire films in three sections, corresponding to the stages of the genre.


F.W. Murnau's Nosferatu (1922) and Universal Studios' Dracula (1931), both adaptations of the novel Dracula, were responsible for establishing much of the structure and most of the tropes of the vampire film. Nosferatu is the first vampire feature and as such there was no cinematic vampire genre at the time of its creation. The visual ideas Murnau employed, such as the vampire springing from his coffin and the Gothic imagery, became standards of the genre. This influenced Tod Browning's direction of Dracula, with its cobweb-strewn and armadillo-infested castle. (Actually, the armadilloes are unique to Browning's vision and are a frankly surreal touch.) What Universal added to the formula is the vampire slayer, Van Helsing, and a more byronic, Romantic vision of the vampire. Nosferatu focused on the vampire's predatory activity and prey's ability to triumph through love; whereas Dracula's structure focuses upon the slaying of the malevolent being. Carl Dreyer's Vampyr (1932), though a highly idiosyncratic masterpiece and very probably the greatest of all vampire films, also employed many tropes that have become fixtures in the genre, including the seduction of beautiful, young women and the ultimate staking scene.

With these three great films, all of considerable artistic value, the generic conventions of the vampire film were established. Since the hard work of creating the cinematic approach to the vampire narrative had already been done, making formulaic vampire films became feasible. Thus we get Universal's follow-ups, Dracula's Daughter (1936) and Son of Dracula (1943). Dracula's Daughter dripped Gothicism, with its primordial fogs, Byronic heroine who pines to be free of her vampiric curse, and the character Sandor who dresses in all black and longs to be made a vampire. The next truly significant vampire film isn't until Hammer Studios' first Dracula film, Horror of Dracula (1958). By this point, the Gothicism of the vampire genre is utterly crystalized. Every vampire film seems to consist in beautiful, corsetted damsels in distress pursued by handsome vampires, while her human love interest seeks out the vampire's lair in order to destroy it. Hammer produced several vampire films of this formula that are worth watching, including many of their Dracula series: The Brides of Dracula (1960), Dracula: Prince of Darkness (1966), Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1970), and Scars of Dracula (1970); and some non-Dracula vampire films, the best of which is Kiss of the Vampire (1963).

The apogee of Gothic vampire films is not with Hammer, however, but with Italian maestro Mario Bava. His masterpiece Black Sunday (1960) is simply one of the finest vampire films ever made and the film that sparked the Italian wave of Gothic films. As if that weren't enough, Bava's anthology film Black Sabbath (1963) includes a segment, "The Wurdulak", that easily ranks, alongside Dreyer's Vampyr, as amongst the eeriest vampire stories in cinematic history.

By 1970 the formula had become somewhat tired and predictable; stagnating to the point of decadence, it was indulging in its own Gothicism without any of the vitality that imbued say Dracula's Daughter. How can Christopher Lee baring his teeth and hissing be taken seriously when The Texas Chainsaw Massacre (1974) is about to be iand Herschell Gordon Lewis's Blood Feast (1963) already has been inflicted upon the world?

Well, the answer is it can't. That's why the traditional vampire film began to parody itself. The final nail in the coffin, if you'll pardon the pun, was Roman Polanski's The Fearless Vampire Killers (1967), a film that pushed the vampire conventions into self-parodical camp. Al Adamson's The Blood of Dracula's Castle (1969) did likewise, turning Dracula into an effete Gomez Addams sort of character. Hammer was trying its best to sustain their Dracula series, with updates like Dracula A.D. 1972 (1972) and The Satanic Rites of Dracula (1973), but it didn't work. The Satanic Rites of Dracula is still recommended viewing for the sheer wildness of its exploitational energy and ideas; had Hammer pushed that envelope a little further, they may have succeeded. The full extent to which the traditional vampire film had become a joke can be seen in The Vampire Happening (1971), a film that declared itself in its tagline, "The Adult Vampire Sex Comedy!" That's exactly what it is: a vampire sex comedy, obviously owing much to The Fearless Vampire Killers, but cranking it up to 11. It is easily the campest vampire film ever made and quite amusing in its own way.


Once the vampire genre had become ridiculous even to itself, the only option other than wallowing in the decadence, which is to say, camp, was to turn a critical eye to the formula and its tropes. Thus arose the critical, or radical, vampire films. The first important critical vampire film is Valerie and Her Week of Wonders (1970). The film uses the tropes of vampire films to tell the surreal story of Valerie's pubscence. Every male authority figure (bishop, constable, father) is consolidated in a single figure, the vampire Polecat, who turns the adult world in a predatory mass of vampires out for Valerie's magic earrings. In using vampire tropes in this way, the film also calls attention to and comments upon the imagery and narrative tropes of Gothic vampire films themselves.

With Valerie, the supernaturalism of the vampire film is pushed to reality-bending surrealism. A much more common route, however, was to set the once supernatural foundations of vampirism upon scientific grounds. The first film to do this seriously is Moctezuma's Mary, Mary, Bloody Mary (1975). A sort of modern take on Dracula's Daughter, a vampire woman struggles to live a normal life while she can't resist the bloodlust she inherited from her father. That bloodlust arises from a genetic mutation that causes her blood vessels to continue growing within her body; if she doesn't injest blood--by cutting jugulars and lapping the blood up--her veins aren't filled and she will die. The science is preposterous, but still science. David Cronenberg's Rabid (1977) took an even wilder route. A woman in a motorcycle crash is implanted with an artificially-grown organ that saves her life. The organ, however, requires the blood of others to survive and fills her with the insatiable thirst for blood, which the organ absorbs from a spike under her arm. The most radical of all scientific vampire films, however, is Thirst (1979), a masterpiece of the Australian New Wave. In Thirst, vampires are a group of people who, although bearing no evident difference from normal humans, believe themselves a superior race entitled to their diet of blood. They have high-tech 'dairies' where humans are kept and routinely 'milked' for blood that can then be pasteurized of impurities.

Perhaps the most unique of all the vampire films of this period is George Romero's Martin (1977). Martin never makes clear whether its vampire is in fact a vampire or merely a disturbed young man. Yet, the film plays out like any vampire film, culminating with a staking by a vampire hunter. The ambiguities of the film leave a lot of moral questions lingering in the viewer's mind, as well as a lot of questions about vampire films themselves. Martin the character and the vampire hunter, after all, are people who have been dangerously influenced by vampire legends (i.e. vampire movies).

In the same style as Martin is John Hancock's Let's Scare Jessica to Death (1971). A slow film about a woman, Jessica, who is recovering from a bout with madness and is brought out to a small lakeside town with her husband and friends to aid in her recuperation. When they discover in the house young, female squatter who resembles a girl in some old photos, the strangely hostile town and the attraction of Jessica's male companions to the girl takes on sinister implications. Either the girl is a vampire queen or Jessica is gone totally mad.

Another form of critical vampire film to arise in the '70s is the lesbian vampire film. Several of these are of high artistic value and worth watching. The lesbian connotation of female vampires had been around as early as Sheridan le Fanu's "Carmilla" and Coleridge's poem "Cristabel". The first film to explore this implication was Dreyer's Vampyr, which was based upon le Fanu's writings. Harry Kumel's Daughters of Darkness (1971), Jess Franco's Vampiros Lesbos (1971), Richard Blackburn's Lemora (1973), and the films of Jean Rollin, particularly Fascination (1979), are the best of the lesbian vampire films.

The completist will want to take account, as well, of Ingmar Bergman's films of the '60s. Bergman was keen on the imagery and tropes of horror cinema, especially vampires--no doubt inspired by Carl Dreyer's Vampyr most of all--and introduced the tropes into his dark dramas. Persona (1966) is a surreal drama about two women on an island, one of whom seems to be vampirically stealing the personality of the other. More blatant, however, is the Bela Lugosi look-alike who haunts the castle in Hour of the Wolf (1968).

Also worthy of note is the avant-garde film Cuadecuc, vampir (1970). Ostensibly a behind-the-scenes documentary of Jess Franco's Count Dracula (1970), director Pere Portabella actually edits the footage so the documentary tells the story of Dracula itself while simultaneously exposing all the trickery that makes Dracula a force of terror. For instance, we see production assistants spraying cobwebs over Dracula (Christopher Lee) in his coffin. Naturally, the film ends with the staking of Dracula, not depicted visually, but with Christopher Lee in his dressing room simply reading the passage from the novel. Portabella's purpose was to expose the facade of fascists, specifically Francisco Franco, as beings created purely out of trickery and lacking any genuine power.


Except for one sole straggler of radical vampire films, Tobe Hooper's insane Lifeforce (1985), the critical vampire film stage had reached its limit by the '80s. One film marks the renewal of Gothic vampirism without its old innocence: Tom Holland's Fright Night (1985). All the self-consciousness of the critical vampire films and all the Gothic fun of the original vampire films are beautifully wed in Fright Night. A vampire moves into an impossibly castle-esque home in the suburbs next door to a young horror film fan, Charlie Brewster. When Charlie notices the coffin being carried into the basement, his knowledge of vampire films comes in useful. He also naively tries to enlist the aid of Peter Vincent (that's Peter Cushing + Vincent Price), a retired star of Hammer horror films, to slay the vampire. Vincent of course believes Charlie is insane. Thus the cynical, post-critique modern era is put face-to-face with a genuine, Gothic vampire (seductive Chris Sarandon), just as the film itself puts both styles face to face. The sequel, Fright Night Part II (1988), while not quite as masterful, is still worth seeing as it manages to once again pull off the same sort of conflict.

Where Fright Night took both an ironic and sexual approach to vampires, subsequent new vampire films tended to choose one or the other. Joss Whedon's Buffy the Vampire Slayer (1992) exploited the comic element, setting a cynical Valley Girl against an old-fashioned Hammer-style vampire, Lothos. Films like Vamp (1986), starring Grace Jones as a vampiric nightclub owner/stripper, exploited the sexuality to a high degree. Vamp doubtless had an influence on Rodriguez's From Dusk Till Dawn (1996), also set in a strip club and also very sexy. In the same year, the just barely-worth-seeing Bordello of Blood (1996) was released. In a tip-of-the-hat to Fright Night, Chris Sarandon plays the films suspicious priest. Several other wild, sexploitational vampire films were made in this period, but few are worth seeing.

There were, however, more serious approaches to integrating critique with tradition. Predating Fright Night by six years is Tobe Hooper's made-for-TV movie Salem's Lot (1979). The film involves a writer who comes to his small town home out of fascination for a creepy mansion and finds himself up against a Nosferatu-style vampire that's been hibernating there. Like Fright Night, Salem's Lot depends upon a bubbling forth of old Gothic terror in a modern setting familiar with vampire movies but unfamiliar with and cynical about the reality of vampires. Kathryn Bigelow's Near Dark (1987) was even more modern, setting its vampires in a dusty, Western setting and treating the vampirism as a disease curable by transfusion. The vampires themselves are closer to a gang of criminals than to the suave traditional vampires. Yet all the traditional tricks, particularly sunlight, still apply. Schumacher's The Lost Boys (1987), about a gang of teenage boy vampires, albeit considerably lighter in tone, is of the same mode as Near Dark. Recommened films in the same style are Larry Fessenden's Habit (1996) and Abel Ferrara's The Addiction (1995).

Two attempts at upgrading some Universal classics are worthy of note. Bram Stoker's Dracula (1992), from Francis Ford Coppola, is something of a masterpiece, telling the Dracula story with renewed confidence in decadent Gothicism and hyper-awareness of critical positions on the vampire film. Almereyda's Nadja (1994) is the other, a very arthouse update of Dracula's Daughter, utilizing archival footage of Bela Lugosi and an aged hippie Van Helsing played by Peter Fonda. Nadja herself, Dracula's daughter, is a lesbian. There are also blood transfusions in the tradition of Near Dark. Yet they ultimately end up in a Gothic, expressionistically-shot castle in Transylvania no less.

On the other hand, some filmmakers reacted to the critical vampire films of the '70s by self-consciously immersing themselves in the most decadent Gothicism, beyond even Hammer's worst. The first of these is the Anne Rice adaptation Interview with the Vampire (1994). Queen of the Damned (2001) followed. Out of these there also developed a very peculiar direction, the 'epic' vampire film, which fuses the Gothicism with action found in such films as John Carpenter's Vampires (1998) and Dracula 2000 (2000). Some examples of the epic vampire film are Van Helsing (2004), Underworld (2003), and Nightwatch (2004). These films have more in common with old, somewhat goofy cross-overs, like House of Dracula (1945), Abbot and Costello Meet Frankenstein (1948), both of which included the Wolfman, Dracula, and Frankenstein's monster.

As the best vampire film of the 2000s stands E. Elias Merhige's unique Shadow of the Vampire (2000), which reaches back to the first vampire film, Nosferatu, and postulates, that Max Shreck, who played the vampire in Nosferatu, is in fact a real vampire.


A few other films tend not to fit so comfortably within the general pattern vampire films have taken. These films are usually the product of idiosyncratic artists. For instance, during the height of the critical vampire film, Werner Herzog, who claimed never to have even seen a horror film, made an exquisitely Gothic vampire film in his remake of Nosferatu, Nosferatu: Phantom der Nacht (1979). The closest fit in the above history is to see the film as an ahead-of-its-time New vampire film.

And Ken Russell made two hidden gems of vampirism in the '80s that stand outside of the tradition as surely as Ingmar Bergman's films do. The first is Gothic (1986), only loosely a vampire film, concerns the night Lord Byron, the Shelleys, and Polidori got together and Byron's mansion, a night that resulted in both Mary Shelley's Frankenstein and Polidori's The Vampyre. The second is Lair of the White Worm (1988), an adaptation of another Bram Stoker novel concerning a vampiric snakewoman looking for sacrifices to Dionin the Worm God. Russell's Lisztomania (1975)also represents Richard Wagner as a vampire, preying on all Liszt loves. Fortunately Liszt is able to destroy the vampiric zombie Wagner with his spaceship. Indeed.

There are also vampire films from Asia. In the '60s there were several 'vampire cat' films, the cats all being ghost women who behaved in catlike ways. The Black Cat (1968) is one of the best of these films and highly worth tracking down. The film contains exceptional poetry. A tradition unique to Asia as well is the 'hopping vampire.' My expertise does not extend to these films, though Mr. Vampire (1985) is recommended as the pre-eminent hopping vampire film. The animated post-apocalyptic vampire film Vampire Hunter D (1985), which fits quite well in as a New vampire film, is recommended for its visuals and engagement with the story of Dracula.


Jared Roberts. A Classic: Thirst (1979). <>. 2010.

Arthur Windermere. A life spent watching loads of horror movies.

Comments 25 comments

drbj profile image

drbj 6 years ago from south Florida

Arthur - I'm glad I read all this in the light of day - would be afraid to deal with it in the dark of night. Wow - you really are a vampire historian. So much research, so many films, so much B L O O D!

Did not see the country in which you reside in your profile. Could it be Transylvania?

Nellieanna profile image

Nellieanna 6 years ago from TEXAS

The original vampire movies were still playing at the one Main Street movie theater in Del Rio when I was a kid, though often they were reserved for midnight showings. I must admit, they scare the be-jeemies out of me as a kid.

There were various lesser-known horror films too. For some reason one of those has always stood out in my memory, "The Vanishing Corpse". In it an older woman stayed young by drinking the blood of newly slain brides, whose deaths she arranged. What scared me most was seeing her transform from haggard and old to young and fresh upon sipping their blood.

I must admit that "The Picture of Dorian Gray", from the Oscar Wilde novel, which I saw as a very young teen affected me in a similar way, though blood-sipping was not involved, but simply a pact with the Devil by Dorian to have the portrait of himself age and reflect any other terrible deeds he committed over a lifetime of staying young looking.

There was some other film in which a woman never dies - she has been all the famous beauties since Cleopatra, living on without death and adapting to the times. Can't recall the title though.

Arthur, you truly are a master historian of a chosen topic!! I enjoyed reading it, and like drbj - am happy that the morning sun has been pouring into my room as I did!

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey Doc,

haha nope, I live in Ottawa, Canada, filming location of the one and only Jesus Christ Vampire Hunter (no joke). My hobby is horror films. But don't worry, I don't own any chainsaws or dungeons.


Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey Nellie!

That's so amazing that you got to see The Corpse Vanishes when it was new. I'm a big Bela Lugosi fan. Though that film's reputation hasn't fared so well. And I don't think anyone would find it scary today hehe. I must confess I could never watch the 1945 Picture of Dorian Gray, as I don't find the actor playing Dorian handsome enough to sustain the plot (Dorian is supposed to be an unbelievably pretty fellow--y'know, like me haha).

The film about a woman who never dies--the closest film I can think of is She, but that's probably not right.

Thanks so much for sharing your memories. I would love to pick your brain for more. I wonder if you saw Cat People or I Walked with a Zombie then? Those are my favourites.


Mike Lickteig profile image

Mike Lickteig 6 years ago from Lawrence KS USA

I've always loved a good vampire movie, as long as the blood isn't absolutely everywhere. I can stand a little, but buckets of blood all over the place is a bit much for me.

In a sea of vampire movies, one of my favorites stands alone due to its strange origins. That film is 'House of Dark Shadows' based on the ABC television daytime soap opera 'Dark Shadows'. The 176 year old Barnabas Collins is accidentally freed from his coffin by Willie Loomis and Barnabas returns to Collinwood after being chained into his coffin for over 120 years. The movie was a retelling of the soap opera story arc that introduced him, and I saw this movie as a child with my grandmother, who was a huge Dark Shadows fan. There was a remade twelve episode television series starring Ben Cross as Barnabas, and talk is of Johnny Depp starring in a big screen remake.

Well, I apologize for the Dark Shadows diversion. I will say that I found your treatment of vampire films to be extremely interesting.


Jane Bovary profile image

Jane Bovary 6 years ago from The Fatal Shore

Blood and sexual metaphor. Vampire lovers will relish this thread I'm sure Arthur. I haven't seen most of the films you've discussed... I must admit I get sick of the same *fangs on the neck* tend not to watch them. No doubt I've been spoilt by watching too may Chrisopher Lee/Peter Cushing Hammer horrors. .

Dracula is very stylish though...and I think Nosferatu has the most interesting images.

Bella Lugosi is great!

When you get a chance it's your turn on wordscraper.

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey Mike!

Thanks for commenting. I've been meaning to get to your latest hub on aesthetics, but tempus fugit and all.

I'm ashamed to say I haven't seen the Dark Shadows movies, miniseries or episodes. I used to catch glimpses as a child while my mom watched it. Since House of Dark Shadows has your seal of approval, I'll have to check it out. I should have seen it by now anyway. I'm certainly intrigued to find out it may be remade.

Incidentally, Hammer's Horror of Dracula is the first vampire film to show colour blood. Just a fun factoid.


Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey Jane!

Well, since you haven't seen many of them, you can just click on those amazon links and get some for a great price! If you only see one, I recommend it be Fright Night. Since you've seen the Lee/Cushing Dracula movies, you'll 'get' what Fright Night's all about. And you'd probably like all the '70s vampire films I mentioned, since there's very little fang or neck in any of them.

Glad to hear you like Bela Lugosi. That can be a deal-breaker, y'know? Friendships have crumbled over Bela Lugosi. The Korean War started with North Korea foolishly declared Bela Lugosi a hack.

Oh, and I'm still kicking your lily-white butt on wordscraper. ;)

Jane Bovary profile image

Jane Bovary 6 years ago from The Fatal Shore

Early days...I'm just lulling you into a sense of false confidence.

Jane Bovary profile image

Jane Bovary 6 years ago from The Fatal Shore

What's "tempus fugit"...? Some sort of Canadian sex toy?

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

I see what's going on here. You're indirectly expressing how you think of me as a Canadian sex toy. Totally saw this coming.

'Tempus fugit' is Latin for 'time flies.' Y'know, time flies like an arrow, fruit flies like a banana.

outdoorsguy profile image

outdoorsguy 6 years ago from Tenn

Great Hub, TNT did a remake of Salems Lot that was much better than the Movie closer to the Book and all. I was actually impressed by this hub. LOL ive seen every movie you listed and tons more.

Try watching Vampire circus. one of my Favorites as a Kid. a Hammer film made around 1972.

now if we can get away from the Guy next door vampire movies and back to their being real predators. instead of blood drinkers with a guilt complex LOL

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hi outdoorsguy!

Thanks for the commenting. Pleased I could impress.

I've seen Vampire Circus. It doesn't make this list by name because I don't like it that much and don't consider it a great vampire film. But it's still a Hammer film and for that reason worth a look.

I'm guessing you have the Twilight movies in mind as "guy next door" vampire movies. I haven't watched and don't plan to watch those. hahaha There are still some good vampire pictures being made. Let the Right One In and Chan-wook Park's Thirst most recently.


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welshbard 6 years ago from Western NC

Interesting article with some very good points. However I must admit, I am no fan of Dreyer's "Vampyr" which I found disjointed and difficult to follow. It's been about 23 years since I've seen it, and I suspect the cut I saw was less than first rate, so I am prepared to change my mind if I see it again.

CMHypno profile image

CMHypno 6 years ago from Other Side of the Sun

Arthur, you sure do know a lot about vampire films! One thing I never understand about them is why the girl always goes down the stairs to investigate. Wouldn't it be more sensible to hide under the bed or in the wardrobe? Have to say I have seen a lot of the vampire films you mention in your Hub, but did you ever see the British TV series Ultraviolet? Worth a watch if you can get hold of it on DVD, as it is a very modern and scientific take on the vampire story. Kind of like a CSI London Vampire! Excellent work as usual.

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey welshbard!

23 years is a very long time. Only 3 years more than my whole lifetime! Of course, the movie is a disjointed and difficult to follow experience. Everyone finds it so and Dreyer intended it so. If you see it again, I hope you'll come back here and let me know what you think.


Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey CM!

On the IMDb message boards for Vacancy and The Strangers, they have a thread on real life scary stories. Most of them involve someone trying to break into a house, or being followed in the street. I notice a few people explicitly mention that they do indeed do the stupid things characters do in the movies: Go downstairs to have a look; pick up a weapon and go outside, etc.. So, the answer is just that people are stupid. haha

I haven't seen Ultraviolet, no. I tend not to like television's depictions of vampires. Dark Shadows, Kindred the Embraced, and I think there are two vampire TV shows running now (Vampire Diaries and True Blood?). Oh, and there was that Buffy and Angel stuff in the '90s. I actually watched those; but looking back, I wonder why. I'll give Ultraviolet a look and see what I think.


epigramman profile image

epigramman 6 years ago

Your hubs engaqe and stimulate the intellectual G-spot!!!

epigramman profile image

epigramman 6 years ago

...and they have an unparalleled wit and style that is all your own!

You rock this hub world!!!

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SilverGenes 6 years ago

My sister and I used to race home from school to see Dark Shadows. We were both 'in love' with Barnabas Collins. Thanks for the memories and yes, I also heard Johnny Depp may be doing the movie. If so, I will be in film heaven. My favourite vampire movie, aside from Nosferatu (which gave me nightmares after seeing it when I was about eight) is The Hunger (1983). I love the music, the photography, the whole premise. David Bowie, Catherine Deneuve and Susan Sarandon made it one fine, sexy and artistic vampire film. Awesome hub, Arthur. I just may get out a vampire movie tonight!

Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey epigramman,

Looks like I missed these comments of yours. A belated thanks! Many a g-spot has been unparalleledly stimulated, I hope.


Arthur Windermere profile image

Arthur Windermere 6 years ago Author

Hey SilverGenes,

Aha! Another Dark Shadows fan! I have to check that out. I'm sure there are episodes on youtube.

Sadly I completely forgot to add The Hunger to the list. I realized only after I'd published and just haven't gotten around to adding it. The film fits very comfortably at the tail end of the age of critical vampire films. Thanks for the reminder.

Glad to see you're a fellow vampire movie fan! Would love to watch a vampire movie myself right now, but my mom is currently visiting from Quebec, so no-can-do. I'll just have to enjoy it vicariously through you. hehe


the pink umbrella profile image

the pink umbrella 6 years ago from the darkened forest deep within me.

what's with the sexual tention between you and epigramman?


Arthur Windermere profile image

Arthur Windermere 6 years ago Author

hehehe hey, he's only human. ;)

Katharella profile image

Katharella 5 years ago from Lost in America

How can it be that a Vampire hub has escaped my attention! Life certainly can get in the way. While I have ultimate respect for Bela, I too have agreed that Barnabas Collins was my fav. I cannot wait to see the Depp remake.

As for Twilight, I think anyone who truly loves Vampirism would watch it on that note. I also have The Bloods and Crypts which are Vampires and Werewolves.. in gangsta-land. Whose to say what shouldn't be.



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