Vampire Circus (1972)

A wonderful departure from the usual Hammer vampire film, 4 August 2009

The 1970s are almost universally regarded as the weakest period in Hammer Films' history. Yet as I sit and think about Hammer's output in their last few years, I'm amazed at how many of the movies I genuinely enjoy. Twins of Evil, Blood from the Mummy's Tomb, Dr. Jekyll & Sister Hyde, Dracula A.D 1972 (I know I may be alone in rating this one as highly as I do), Captain Kronos: Vampire Hunter, and Frankenstein and the Monster from Hell – all made in the 70s and all solidly entertaining films. Add to that list Vampire Circus. In fact, it might be the best of the bunch.

In a small 19th century Serbian village, Stetl, the locals finally find the courage and band together to put an end to the blood thirsty rule of Count Mitterhaus (Robert Tayman). Count Mitterhaus, you see, was a vampire (But in a Hammer film, isn't every Count a vampire?). As the stake is driven through the heart and the light is fading, he puts a curse on the village and vows to return and seek his revenge. Fifteen years later, with Stetl beset by a plague so bad that other nearby villages have set-up armed roadblocks to keep the people in, it seems that the Count's curse has come to pass. Just when things look their bleakest, the Circus of Nights comes to town. Looking for a relief from their despair, the townspeople are delighted to have this diversion in their midst and welcome the newcomers. Clowns, dancers, animals, and a strongman - the circus is a success. But when some of the town's locals, including the children, turn up with dead, the circus performers are immediately blamed. Are these innocent circus folk or are they something more sinister with another purpose altogether – like resurrecting the body of Count Mitterhaus?

From the very opening scene where the little girl is led in what seems to be the most innocent manner into a nearby castle only to meet her fate at the hands of the blood-thirsty Count, Vampire Circus gets off to a great start and never really lets up. That opening scene sets the tone of much of what's to come. Honestly, I just loved it. While it starts out innocently enough, it features a rather startling and unexpected conclusion. Robery Tayman's Count Mitterhaus may just be the most fiendish, savage vampire to appear in a Hammer film - and that includes the work of Christopher Lee. Not even the children are safe in Vampire Circus. For example, even though we don't see it, it's implied that a whole school of children are ripped to shreds by Emil's (Anthony Higgins) black panther persona. There's probably as much claret spilled, necks ripped open, and limbs taken off in Vampire Circus as any Hammer film I can think of. But it's not all graphic violence. There's some real atmosphere at work here as well. The whole movie has a creepy sort of vibe to it that really works. The circus is just odd enough to be eerie without going overboard. And I love the liberties Hammer took in Vampire Circus with the traditional vampire lore. Circus performers turning form animal into vampire, humans and vampires living (and loving) together, etc. make Vampire Circus a unique experience. The acting is, for the most part, as good as you'll find in any Hammer film. Even though you won't find any of the big name Hammer stars, Tayman, Higgins, Adrienne Corri, and several others give outstanding performances. Finally, though I've seen some reviewers dismiss the "amateurish" special effects, they really worked quite well for me. Emil's transformation to panther or the twins flying transformations into bats are amazingly well done.

I realize it's not all perfect (I didn't care for Thorley Walters' performance, John Moulder-Brown seemed way too young, and too many scenes were too obviously filmed in a studio), but this is one of my Hammer favorites. Vampire Circus is a real treat.

8/10