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Lucille has died, and the vast fortune she has left behind calls every
greedy relative to her mansion, and soon enough, the bunch of greedy
relatives decide to gang up on Barbara, Lucille's innocent and honest
niece, and her husband Lake. Then though, Lucille starts wandering the
premises as a vampire (or so it seems), people start dieing starting with
Barbara's uncle Flinch, a sinister butler and his assistant Lobo are
introduced into the plot, and mysterious Doctor Acula shows up, giving
enigmatic advice, and nobody is sure if he is here to help the greedy
bunch at the mansion or just trying to scare the shit out of them. Ultimately,
all the greedy relatives who have not yet died (and some who have died
actually) kill each other, until only Barbara and Lake survive, Doctor
Acula is revealed to be nothing more than an insurance investigator and
Lucille the vampire actually her sister in disguise. Well, all's well
that ends well. Originally, The Vampire's Tomb was a
scrip Ed Wood wrote with Bela Lugosi in the role of Dr.Acula in mind, but
when Bela died, the whole thing came to nothing ... until Andre Perkowski
got his hands on the script of course, and turned the whole thing into a
film in best Ed Wood-tradition, with Lugosi stand-ins doubling for the
late actor himself ... and the film turned out pretty weird and pretty
well, as Perkowski is one of the few directors that uses the Ed Wood
reference not as an excuse for bad directing and numerous angora sweater
jokes, but diligently tries to replicate the style and feel of an Ed
Wood-movie, but without giving up his own, personal style: So The
Vampire's Tomb is filled up with lots of intentionally-unintentionally
silly dialogue, mismatching stock footage taken from wherever,
Criswell-predictions making little sense either in the movie's context of
taken out of context, campy performances, and clumsy attempts to cover up
the absence of lead actor Bela Lugosi. Now this all still could have added
up to little more than a bad comedy, but Perkowski's inherent
understanding of his source material (and of Ed Wood in general) paired
with his own skills as a director instead turn this into a great piece of
weird, surreal, dreamlike cinema that somehow has to do as much with the
masterpieces of Guy Maddin as with the (highly enjoyable) drive-in trash
of Ed Wood. Recommended.
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