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Lust for a Vampire

Lust for a Vampire

Horror · 1971

In 1830, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla. The nearby Finishing School offers rich pickings not only in in the blood of nubile young ladies but also with the headmaster who is desperate to become Mircalla's disciple, and the equally besotted and even more foolish author Richard Lestrange.

Movie details

Lust for a Vampire

“A vampire's lust knows no boundaries...”

1971 Horror 1h 31m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

In 1830, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla. The nearby Finishing School offers rich pickings not only in in the blood of nubile young ladies but also with the headmaster who is desperate to become Mircalla's disciple, and the equally besotted and even more foolish author Richard Lestrange.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Lust for a Vampire?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Vampire Lovers

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Names above the title

The people responsible.

Directed by

Jimmy Sangster

Written by

Tudor Gates

Barbara Jefford

Barbara Jefford

Countess Herritzen

Ralph Bates

Ralph Bates

Giles Barton

Suzanna Leigh

Suzanna Leigh

Janet Playfair

Yutte Stensgaard

Yutte Stensgaard

Mircalla / Carmilla Karnstein

M

Michael Johnson

Richard Lestrange

Helen Christie

Helen Christie

Miss Simpson

Mike Raven

Mike Raven

Count Karnstein

Court is in session

Put Lust for a Vampire on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.