Of all the few Rollin films I have seen (and I intend to see more), Le Frisson des Vampires/Shiver of the Vampire (his third) might be my favourite. The plot is still thin and difficult to follow in places – but that is deliberate. Rollin seems instead to concentrate on imagery, atmosphere and mood. Shiver contains all these things. Equally typical, there is plenty of casual nudity which rarely actually comes across in an erotic way, rather as a perfunctory element of the whole, delirious dreams-cape.
As one of the two serving girls, once again, is Marie Pierre Castel. Marie featured in a number of Rollin films, sometimes alongside her sister Catherine. Both girls are striking to look at, quite ethereal in fact, and here Marie is her usual rarely-speaking, somnambulistic subordinate who for once, appears to have a happy ending. Marie's final Rollin role was in La Fiancée de Dracula/The Fiancée of Dracula (2002). Though not often required to do a great deal other than look alien, the Castels are mesmerizing performers.
Here, the locations are truly stunning and deathly creepy. Huge castles and lush forestry, together with a freezing beach – another Rollin staple – often belie the sometimes stilted acting, especially from the two hippy/vampires.
This film is afforded an actual ending, which doesn't always happen. Often in the Rollin films I have seen, they end very suddenly, possibly as a result of his lack of budget or time constraints. Not so here. There is a very final moment – which nevertheless invites the viewer to check out more of his work. Certainly, this is one of his most accessible, although no kind of compromise to 'normal' film-making in any way.
As one of the two serving girls, once again, is Marie Pierre Castel. Marie featured in a number of Rollin films, sometimes alongside her sister Catherine. Both girls are striking to look at, quite ethereal in fact, and here Marie is her usual rarely-speaking, somnambulistic subordinate who for once, appears to have a happy ending. Marie's final Rollin role was in La Fiancée de Dracula/The Fiancée of Dracula (2002). Though not often required to do a great deal other than look alien, the Castels are mesmerizing performers.
Here, the locations are truly stunning and deathly creepy. Huge castles and lush forestry, together with a freezing beach – another Rollin staple – often belie the sometimes stilted acting, especially from the two hippy/vampires.
This film is afforded an actual ending, which doesn't always happen. Often in the Rollin films I have seen, they end very suddenly, possibly as a result of his lack of budget or time constraints. Not so here. There is a very final moment – which nevertheless invites the viewer to check out more of his work. Certainly, this is one of his most accessible, although no kind of compromise to 'normal' film-making in any way.