Spoilers herein.
I admit I find current Spanish-speaking filmmakers the most interesting. And because of that, I'm plowing through Franco films. They all sort of blend into one another after a while, except for those featuring a lover.
The thing I like about them generally is how self-conscious the camera is, what with the zooms and sweeps and such. Usually, they also include him as a character, often as observer or investigator in a folded narrative. (Nico Mastorakis does this much better in 'island of Death.')
No narrative in film could be more formulaic than the vampire film, especially one that focuses on the sex of the wives (here 'daughters'). On that he attempts layers. These aren't intelligent or deep, but they are there and pave the way for Pedro and Julio.
Along the way, he got the business about one of Dracula's wives being redhaired and confused. That's important, that.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
I admit I find current Spanish-speaking filmmakers the most interesting. And because of that, I'm plowing through Franco films. They all sort of blend into one another after a while, except for those featuring a lover.
The thing I like about them generally is how self-conscious the camera is, what with the zooms and sweeps and such. Usually, they also include him as a character, often as observer or investigator in a folded narrative. (Nico Mastorakis does this much better in 'island of Death.')
No narrative in film could be more formulaic than the vampire film, especially one that focuses on the sex of the wives (here 'daughters'). On that he attempts layers. These aren't intelligent or deep, but they are there and pave the way for Pedro and Julio.
Along the way, he got the business about one of Dracula's wives being redhaired and confused. That's important, that.
Ted's Evaluation -- 2 of 3: Has some interesting elements.