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Rachel (Rachel Sheppard), an American tourist to Torremolinos, has
nothing on her mind than a few days of topless sunbathing on the beach.
But while doing so, she has these weird dreams about a vampiric woman
(Analía Ivars). Ironically, she later sees the woman on a t-shirt the
vendor (Jess Franco) says was made especially for her. Rachel buys the
t-shirt, returns to sleep, has nightmares about the vampire woman, and
when she wakes up, the picture of the woman on her t-shirt is gone.
feels herself drawn to a beachside mansion that seems terribly out of
place with all the hotel highrises surrounding it. Once inside the
mansion, she meets the woman of her dreams, Irina von Murnau, lieing on
her bed in the nude. Irina draws Rachel onto the bed, takes off her cloths
... and bites her in the neck.
That night, Rachel visits a nightclub to
see Marla (Lina Romay), a gipsy clairvoyant, doing her stage-act. When
Marla notices Rachel, she is startled, but knows what is going on right
away, that Irina the vampire has put her under her spell - and now she,
Marla, who has been trailing Irina for a long time, must act, to save the
girl and rid the world of the vampire.
Rachel and Marla pay another
visit to Irina's mansion, where Marla hands over Rachel to Irina as if she
was a present, then watches the two of them making out. Only eventually
does she pull a blessed plastic dildo from her bag and penetrate Marla
with it, this way ending the life of the lesbian vampire.
up on the beach. It was all just a dream, apparently. But why then does
her own picture (with vampire teeth) show up on her t-shirt all of a
Especially in his late pictures, director Jess Franco
has questioned the necessity of an actual plot for his films, and instead
filmed a few sex scenes and strung them together by a few genre clichés,
all to be carried by pure atmosphere. Sometimes this worked, and sometimes
it simply didn't.
Vamprie Blues is one of the better films made this
way, mainly because he has some great scenery at hand, his experiments
with computer effects that have become a trademark of his late oeuvre,
actually work and make sense here, the film's slow pace goes hand in hand
with its elegiac overall theme, and the film's score is pretty fitting as
True, Vampire Blues is hardly one of Jess Franco's best
films, but as far as his late films (circa from the late 1990's onwards)
go, it's pretty decent.