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Pierre (Olivier Martin) tries to save a scantily clad girl (Caroline Cartier)
from the clutches of a bunch of people in animal masks, but she is shot down
before his eyes anyhow & dragged off to a secretive club, where Pierre is
refused entrance - even though, as it turns out, the club belongs to his father
Radamante (Maurice Lemaitre).
The next night, Pierre manages to get into the club anyhow, & witnesses
a girl shooting herself in the head, after which the scantily clad girl from
the night before is led in - apparently not dead at all - & drinks the
blood of the dead woman. Then though Pierre is handed the gun to shoot himself
in the head too, but instead he uses the gun to make his getaway ...
The next day, his father Radamant promises Pierre to explain everything the
same night, but at the same time warns Pierre from the club's enemies.
Pierre however is hell-bent on freeing the vampire girl he's fallen in love
with & persuades his friend, the photographer Robert (Pascal Fardoulis) to
help him. However when trying to make good their plans, the 2 of them find
themselves entangled in a war between Radamante & his associates, who
through the vampire girl plan to gain immortality, & the vampire girl's
people led by the Grandmaster (Michel Delahaye), who want to free her. &
while Robert soon falls for the seductive charms of Solange (Ursule Pauly) -
one of Radamante's gang - who ruthlessly kills him, Pierre, given some pointers
by Radamante's twin servant girls (Cathy Tricot, Pony Tricot) - who turn out to
be the Grandmaster's spies - joins up with the Grandmaster's gang, & soon
Radamante's gang is defeated & he himself transported onto a beach, where
the grandmaster & his people - not vampires at all he claims but mutants
from another dimension - try him & convict him to death, while his son
Pirerre is happily united with the vampire girl.
Only Rollin's second feature film, but his style, which has been strongly
hinted at in his first, Le Viol de la Vampire, has come to full swing
here (& in his best movies, he would invariably relie on this style again):
the narrative takes second seat to his twisted concepts of pulp-surrealism
& twisted genre-reinterpretaiton, filled up with guns, girls, violence
& a good helping of sexy vampires, all held together by atmospheric imagery
& lyrical if often incomprehensible storytelling.
Rollin's films no doubt might not be to everybody's taste as they refuse to
be clearly categorized as either art or trash, horror or lyricism or whatever
other stools one can sit between, but make good viewing for those who can
accept that, & La Vampire Nue might be a perfect example for his
work.
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