BLOODTHIRSTY TRILOGY (THE VAMPIRE DOLL; LAKE OF DRACULA; and EVIL OF DRACULA; Toho, 1970-4)
Arrow Blu Ray set release .2 disc set. Color. Japanese with subtitles.
U.S. Release $49.99 s.r.p. https://www.amazon.com/Bloodthirsty-Trilogy-Vampire-Dracula-Special/dp/B07B12HN97
U.K. Release £ 29.99 s.r.p. https://www.amazon.co.uk/Bloodthirsty-Trilogy-Blu-ray-Kayo-Matsuo/dp/B079VCZJC3/ref=sr_1_1?s=dvd&ie=UTF8&qid=1525722582&sr=1-1&keywords=bloodthirsty+trilogy
In the 1960s and early 1970s, vampire films were quite popular, Thanks to Hammer Films, Dracula and his many off-shoots invaded movie theatres and television sets internationally. Many countries made their own variations and even rip offs of the British horror studio’s output.
One country where fantasy films and horror were enjoyed by a wide audience was Japan.
Japanese theatre had a long history of popular ghost stories. Oddly, Japan seems to lack any legends of vampire folklore, the closest being the Yōkai, a malevolent spirit.
Yotsuya Kaidan (四谷怪談 Ghost Story of Yotsuya), written in 1825, was a kabuki ghost story revenge play. So far it has been adapted for films at least 30 times.
One year after the cinema camera was introduced in the country, local filmmakers made Bake Jizo (Jizo the Spook / 化け地蔵) and Shinin no sosei (Resurrection of a Corpse),1898 ,both films currently presumed lost.
The first film adaptation of Yotsuya Kaidan was made in 1912, and it was filmed some 18 times between 1913 and 1937. All but the 1936 and 1937 films were silent adaptations.
In 1933, a three-reel silent comedy Wasei Kingu Kongu (和製キング・コング, literally Japanese King Kong) was made, also now sadly missing for modern viewers. Japan made silent films well into the mid-1930s. In 1938, Kong returned for another silent Japanese film, this time released in two parts, King Kong Appears in Edo (江戸に現れたキングコング Edo ni Arawareta Kingu Kongu) .This film ,like so many Japanese films made before the 1950s, is also lost.
From the early to mid-1940s, most of Japanese cinema was turned to the propaganda for the war effort. Still, future great artists like Akira Kurasawa began their careers during this period.
In the 1950s, Japanese films began to get a wider release worldwide. Kurasawa’s brilliant RASHOMON (Toho,1950) won international praise and awards. Ugetsu, Tales of Ugetsu or Ugetsu Monogatari (雨月物語) was a 1953 ghost story from Daiei Studios that won great acclaim.
1954 ,The same year that people were introduced to Seven Samurai (七人の侍 Shichinin no Samurai,Toho), the same studio released a film that would spawn sequels, remakes ,rip-offs ,and introduced the world to Kaiju (giant monster )cinema, Godzilla (ゴジラ Gojira). Both films nearly bankrupted the studio but luckily the international box office rewarded the daring producers . Another supernatural film, The Invisible Avenger (透明人間 Tōmei ningen, literally Invisible Man), loosely based upon the H.G. Wells classic, was released by Toho that same year, but never was given international release.
Between all the monsters stomping all of Tokyo, supernatural tales continued to be popular. Nobuo Nakagawa directed a series of horror films, including The Ghosts of Kasane Swamp (Shintoho Films. 1957), The Mansion of the Ghost Cat (亡霊怪猫屋敷Bōrei kaibyō yashiki, Shintoho, 1958) and The Ghost of Yotsuya (Tokaido Yotsuya kaidan (東海道四谷怪談), another telling of the famous ghost story, Shintoho 1959), and Jigoku (Jigoku (地獄, “Hell”, Shintoho ,1960).
The 1960s continued to have more supernatural tales ,alternating between the giant monsters, and supernatural thrillers, including an interesting hybrid ,GOKE BODY SNATCHER FROM HELL (吸血鬼ゴケミドロ Kyuketsuki Gokemidoro ,which translates to Vampire Gokemidoro, Shochiku,1968).This hybrid vampire /ufo film has an alien invasion using bloodsuckers ,and has a rather bleak ending.
Finally, Toho, one of the oldest of the big four Japanese Film companies, saw the profits Hammer was making on their relatively modest budget horror films, and decided to take a chance on their own three vampire films.
All these films were directed by Michio Yamamoto ( 1933- 2004 ) . Yamamoto began as an assistant director to the great Kurasawa on THRONE OF BLOOD (Kumonosu-jô), the director’s take on the tragedy of Macbeth. He continued as an A.D. until 1969, when Toho let him direct Yaju no fukkatsu , a gangster crime drama.
He was given directorial control on the Hammer influenced but modern setting vampire films that the studio produced between 1970-4. Between films, he directed for Nippon tv some dramas, ending his career in 1976 directing episodes of a tv action drama.
First was The Vampire Doll (幽霊屋敷の恐怖 血を吸う人形 Chi o suu ningyo, Toho,1970, color ,71minutes). THE VAMPIRE DOLL was released in a subtitled form in NY and LA as THE NIGHT OF THE VAMPIRE. THE VAMPIRE DOLL as also been known as BLOODSUCKING DOLL, THE GHOST MANSION’S HORROR: A BLOODSUCKING DOLL, FEAR OF THE GHOST HOUSE: BLOODSUCKING DOLL, and when released on VHS by Paramount, THE LEGACY OF DRACULA.
The film shows that the director and writer Hiroshi Nagano (who doesn’t seem to have any other fantasy credits and worked mostly on television) and Ei Ogawa (who wrote all three vampire films, as well as SPACE AMOEBA (Gezora, Ganime, Kamēba: Kessen! Nankai no Daikaijū (ゲゾラ・ガニメ・カメーバ 決戦! 南海の大怪獣ba: , , translated as “Gezora, Ganimes, and Kamoebas: Decisive Battle! Giant Monsters of the South Seas ”, Toho, 1970) seemed have studied THE OLD DARK HOUSE (Universal,1932), PSYCHO (Paramount ,1960), and CITY OF THE DEAD(Vulcan,1960), as well as Hammer’s vampire films.
Kazuhiko goes to an isolated house during a rainstorm to reunite with his fiancé, Yuko. Interestingly, the house and cab are depicted via model work.
Upon arriving, the young man is greeted by Genzo, the silent servant, as well as Yuko’s mother, Shido. Kazuhiko is told by Yuko’s mother that the young woman died during a landslide just a few weeks prior. Due to the storm, he must spend the evening, wherein he is awakened by the cry of a woman. It does not end well for him.
We cut to Kazuhiko’s sister Keiko and her boyfriend Hiroshi ,who are concerned that he hasn’t returned or even contacted
them to let them know how he is. They go to the same remote home and are greeted by Shido and Genzo. What they uncover leads to more deaths as the family curse is uncovered.
The film is a mix of Gothic horror (old dark house, stormy night) and Japanese Ghost Story. While the killer is called a vampire, they never spout fangs, instead using a very deadly blade to dispatch their victims. Still, the film is full of atmosphere, and at a brisk 71 minutes, it really moves.
Composer Ricchiro Manabe wrote the scores for all three Toho vampire films. Besides composing for the vampire trilogy, Manabe also wrote the scores for GODZILLA VS HEDORAH (ゴジラ対ヘドラ Gojira tai Hedora, Toho,1971) better known as GODZILLA VS THE SMOG MONSTER; and GODZILLA VS MEGALON ( ゴジラ対メガロ Gojira tai Megaro, Toho,1973).
His scores for this first film is harpsicord, piano, and organ, mixed in with discordant sounds to create a feeling of unease. It also includes some traditional Kokiriko (basically a pair of sticks struck together rhythmically) electric keyboard and flute. At one point it goes a little muzak, but overall, it is quite spare but effective. At times, it reminded me of some of the music from tv’s DARK SHADOWS (ABC TV 1966-1971) https://www.youtube.com/watch?v=J5Kh9z-mExk .
The cinematography by Kazutami Hara is effective, with nicely composed shots that help the mood of the piece. He would skip the next film in the series, only to return for the final entry.
The film must have done well, as the studio made another vampire film the following year with the same director, screenwriter (Ei Ogawa) and composer.
Lake of Dracula (呪いの館 血を吸う眼 Noroi no yakata-Chi o su me, Toho, 1971, also known as also known as Japula, Dracula’s Lust for Blood, The Bloodthirsty Eyes and Lake of Death). After it’s Japanese release, it was given a limited subtitled release in the U.S., followed up by a television dubbed version from UPA under the title LAKE OF DRACULA.
A young girl, Akiko, looking for her lost dog, wanders into a house, where she finds a dead woman and a vampire. We jump ahead years later, where Akiko is now a young woman. She thinks what happened to her was only a dream, until the vampire turns up again, and her dog once again goes missing, only now her sister Natsuko also disappears.
She is attacked by a friend who has been vampirized and brought to the original vampire. Just before he can bite her, two men interrupt the monsters, and they run away.
More near fatal events happen, wherein they discover that the original vampire chasing them is a descendent of Dracula himself!
This film is a more traditional vampire film, with an ancestor of the King of all Vampires playing heavily into the story. The vampire here has a ghastly pale complexion and yellow eyes. The final staking is effective (I understand that this was cut from some tv prints, making a very frustrating viewing for late night tv addicts). Certain points in the film made me think of BRIDES OF DRACULA (Hammer/Universal,1960).
The Hammer influence is strong in the design of the vampire’s mansion , which has a very European look, or at least strong Bernard Robinson construction (kudos to production designer Shigekazu Ikuno, who had worked on the horror film MATANGO, Toho ,1963). The film overall has a feel of a larger budget than its predecessor.
The camerawork by Rokurô Nishigaki is quite good, and it is a shame he didn’t do more genre work.
Three years later, the final film of the series was EVIL OF DRACULA ( 血を吸う薔薇 , literally The Bloodthirsty Rose, Toho,1974). The original cameraman returned to join the other original director, writer and composer.
Once again, BRIDES OF DRACULA seem to have had some influence on the plot, along with LUST FOR A VAMPIRE (Hammer, 1971).
Shiraki, a new teacher at the Seimei School for Girls, finds out that he is to become the new Director. The principal has just suffered the death of his wife. That night, Shiraki, who is staying in the principal’s home, is attacked. He wakes up in his own bed, and at first assumes it was all a dream.
However, he goes down into the cellar and finds that the ghastly woman who attacked him the night prior is the occupant of a coffin, namely the principal’s late wife.
Later, one of the female students is attacked and left with two bite marks upon one of her breasts. The school Doctor Shimimura, who also collects local legends, feels that the violence and strange things going on are the result of a vampire.
The origin of this Dracula is quite original, to say the least. If you have seen Martin Scorsese’s SILENCE(Paramount,2016), you will be aware of the 17th Century attempt at bringing Christianity from Europe to Japan. Well, here, Dracula comes into being as a pious man who renounces his faith due to the tortures of the missionaries, and thus is cursed with vampirism!
This film is a bit more violent and some semi nudity to spice up the proceedings. Once again, the team has done a great job of mixing Western culture with a Japanese spin.
These films were released sparsely in the U.S. in subtitled prints in limited release, as well as dubbed versions, somewhat edited for television by UPA.
Paramount Home Video released the films in the edited dubbed versions on VHS, but they have long been out of print. The prints were rather flat and the copies suffered from pan and scan .
Finally, ARROW FILMS has once again graced us with an amazing presentation of an unjustly obscure film, or in this case, three.
First off, they have gone to the original film elements for a 1080p High Definition Blu Ray release. The color and image quality are amazingly sharp and clear, with no noticeable speckling or blemishes. Though supposedly low budget, the artisans and artists at Toho bring a professionalism and pride to their work.
The Mono sound is now in a clean uncompressed 1.0 PCM Audio. The previous VHS release was on certain videos released in the LP (long play) speed, rather than the SP (Standard Play). This softened the picture image as well as flattened the sound.
Though not mixed in any fake stereo, the music and sound effects mix are clear.
The prints used are in the original Japanese, so you can hear the performances of the actors, with very easy to read new English language subtitles.
Kim Newman (film historian, as well as author of the delightful ANNO DRACULA book series) provides a nice little video appraisal of the trilogy on disc one.
• Reversible sleeve featuring original and newly commissioned artwork by Matt Griffin (which also graces the discs), while on the flip side are some of the original Japanese theatrical posters.
FIRST PRESSING ONLY: Collector’s booklet featuring new writing on the film by Japanese film expert Jasper Sharp (Historical Dictionary of Japanese Cinema; Scarecrow Press ,2011), illustrated with some beautiful photos from the movies.
Disc One consists THE VAMPIRE DOLL and Kim Newman’s video comments.
Disc Two consists of LAKE OF DRACULA and EVIL OF DRACULA.
The only thing that I could have suggested was perhaps adding alternate audio track of the English dubs from UPA , but perhaps they were too prohibitively expensive to license .
Once again, Arrow Films has given us another must have Blu Ray Collection.
–Kevin G Shinnick
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