Lips of Blood – Lèvres de sang (1975)

Directed by: Jean Rollin | 80 minutes | drama, horror, romance, fantasy | Actors: Jean-Loup Philippe, Annie Brilland, Nathalie Perrey, Martine Grimaud, Catherine Castel, Marie-Pierre Castel, Hélène Maguin, Anita Berglund, Claudine Beccarie, Béatrice Harnois, Sylvia Bourdon, Mireille Dargent, Paul Bisciglia, Willy Braque, Julien, Etchevery, Serge Rollin

Jean Rollin has put together an interesting body of work, specializing in (semi-)erotic vampire films with titles such as ‘Requiem for a Vampir’e (‘Vierges et Vampires’), ‘Demoniacs’ (‘Les démoniaques’), and ‘The Living Dead Girl’ (‘La morte vivante’). Although the films are full of (mainly female) naked bodies, they cannot simply be characterized as pure, flat exploitation films. Believe it or not, Jean Rollin often seems to put a certain arthouse sensibility into his films. This is certainly the case in ‘Lèvres de sang’ (‘Lips of Blood’). The dreamy, symbolic, and sometimes surreal atmosphere, expressed in the slow tempo, the grand (semi-)dark outdoor locations in which the characters are absorbed, the moody, minimalist music, and the scarcity of dialogue, make the film something more and more interesting than just an exploitation film where the only intention is to let the many shapely ladies show their birth costumes to the viewer in different ways.

Now this is certainly one of the director’s intentions; make no mistake about this. But the interference factor does not have to be high. Yes, there are certainly some gratuitous nude scenes in the film, a photographer who first “shoots” a self-groping nude model, then later tells Fréderic to wait while she gets dressed, leaves the room, and then unclothed (apart from a hip chain and black leather boots) back toward him, wondering where she’d left her blouse again, but the scantily clad vampirettes definitely belong in this movie, and this subgenre.

The mysterious woman in white is, as it turns out, assisted by four female vampires who, dressed only in colorful and (very) translucent robes, chase after their victims, or rather: shuffle after them. These robes often flutter violently in the wind, leaving little to the viewer’s imagination. Not that this is particularly disturbing. Of course these women exist for the voyeuristic pleasure of the viewer, but their soundless, slow step, or their immobility in the dark city, musically supported by a lonely piano, give their presence a poetic effect. The scene in which the four of them are motionless waiting for or observing their victim on the stairs of an old building, in particular, remains imprinted on the viewer’s retina. The naked body of one of the ladies is revealed while her face is covered, due to the dress being blown up by the wind and over her face. However, she makes no attempt, as any other person would, to (at the very least) clear her face because of the séance-like nature of the situation. It portrays well the terrifying, almost unnatural determination of these vampires.

Atmosphere is very important in film, and is an element that stands out positively in ‘Lips of Blood’. The fact that the film tries to tell its story largely in images (without dialogue) is commendable, although it is a pity that this is canceled out on various points by explaining too much verbatim. Certain symbolism and themes, such as the interpretation of Frédéric’s quest as Oedipal detachment from the mother, also work in favor of the film. However, these good points do not (completely) save the film. The acting, with the possible exception of the largely wordless Annie Brilland, is lousy; threat or tension is hardly present; and individual scenes are often executed illogically or inconclusively. Ultimately, however, the most regrettable thing is that the film does not dare to choose a clear direction. There is too little nudity or sex in the film to be able to speak of a nice unpretentious exploitation film; the storyline isn’t interesting enough to add anything to the vampire genre; and too many explicit story elements or character traits prevent the viewer from being able to immerse himself in a visual adventure through the fragmentary dream-like aspects, in which he can give structure to his different impressions.

‘Lips of Blood’ has become a curious, but certainly interesting film, which found its way to the target audience at the time of the film’s release. Too artsy for the sexy vampire movie buff, and too flat and straightforward for the art-house fanatic. The film was therefore a flop at the box office, and Rollins decided to focus on hardcore instead of softcore erotica. He took copies of some scenes, added two long x scenes and made the movie called Suck me, Vampire. It was the beginning of x movies and it was a success. Unfortunately, this marked the end of the Rollinian vampires. Apparently the general public needs clarity. However, for those who want to put something new, and perhaps indefinable, on their movie menu, ‘Lips of Blood’ is definitely worth getting your teeth into. A little strange, perhaps, but quite tasty. Bon appetite!