Vampire Circus

A bare-chested emissary of the undead draws a child close to his chilling killing chamber. In a tragic twist, it is the child’s own mother who condemns her daughter to be the cursed feast of this foul fiend. As the sinister ritual unfolds, the child's father, along with a group of determined villagers—straight out of a classic vampire film—launch a bold assault on the lair of the undead monster. They quickly vanquish him, but not before the dying fiend utters a chilling curse. With his last breath, he vows, “You shall die so that I may live again!”

Vampire Circus (1972) is a quintessential example of high-camp Hammer horror, starring David "Darth Vader" Prowse as a brawny strongman and Lalla "Dr. Who" Ward as a mystical gypsy. The film features a dashing, bare-chested Dracula-like figure who abducts a young girl. The opening scenes introduce a troupe of stock Transylvanian villagers, reminiscent of characters from countless vampire flicks of the era, as they unite to confront “Count Mitterhaus” and put an end to his gruesome machinations. The film sets its tone early with a substantial amount of nudity, immediately establishing itself as not just a vampire story but an erotic and exploitative spectacle.

Years after Mitterhaus's demise, the story shifts to a peculiar circus that rolls into town. This sinister troupe includes a pitiful dwarf, clad in classic Gothic makeup to signal the film's adherence to traditional horror aesthetics, and a menagerie of vicious animals. The circus features a hall of mirrors ominously named “Mirror of Life” (with the animal display referred to as “Circus of the Night”).

Amid this macabre spectacle, a young girl, the daughter of a worry-ridden village housewife, falls hopelessly in love with Emil (Anthony Higgins, credited as Anthony Corlan), a vampiric figure who bears a striking resemblance to a mid-seventies rock star (a role he likely played in real life). Emil, who is a cousin of the now-dead Mitterhaus, has returned to fulfill the curse laid upon the villagers' descendants by his uncle.

Despite its conventional narrative and runtime, Vampire Circus manages to carve out a niche with its unique blend of surrealism and Gothic horror. The film's attempts at artistry are evident in several moments that stand out from its otherwise familiar storyline. One particularly effective sequence involves a haunted funhouse mirror, which, despite being a well-worn trope, is used here to create an unsettling atmosphere of dread. The reflection of characters who cast no shadow enhances the sense of unease and otherworldliness.

Another memorable scene features two ghostly faces in profile, floating between candles like twin moons, whispering conspiratorially. This moment creates a genuine sense of menace and adds a touch of eerie elegance to the film.

Though Vampire Circus is not without its merits, it ultimately falls into the realm of mediocrity. It is a competent and occasionally surreal Gothic thriller that adheres closely to the conventions of its genre. The film’s attempts at creating a unique atmosphere are occasionally successful, but it never quite rises above the level of its predecessors. The vampire anti-hero, while rendered with a certain allure, remains somewhat indifferent to his impalement (he doesn’t dissolve into dust), and the overall effect is a film that, while entertaining, fails to distinguish itself from the many similar productions of its time.

Ultimately, Vampire Circus is a film that retraces the steps of its genre’s storied past, rehashing familiar tropes and conventions without adding much to the canon. Despite a few bright moments of artistic vision, it remains a passable, if forgettable, entry in the Hammer horror lineup. As such, its memory will likely slip away like an undead creature dissolving into the morning mist, retreating to its tomb with a stake through its heart and no blood left to sustain it.

Vampire Circus (1972) Original Trailer [FHD]

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