THE VAMPIRE DOLL (1970)
Also known as Legacy of Dracula, despite the fact that the man himself makes no appearance, and is never mentioned. So perhaps this alternative title refers to the legacy of English language fiction in general? There are a lot of horror films from Japan, many of them dealing with spirits and demons from regional folklore. Vampires, if they show up at all, are more likely to be blood sucking ghosts than reanimated corpses. Kwaidan and Kuroneko are some of the more famous releases. But in this less well known series of chillers the film-makers looked to the West for inspiration. The later films in this loosely connected trilogy do include pale men wearing capes. But interestingly this first instalment includes elements from other examples of American cinema.
The story opens on a rainy night, during which Kazuhiko (Atsuo Nakamura) travels to be reunited with his fiancée Yuko (Yukiko Kobayashi). But Yuko's mother claims that she died in a car accident several weeks earlier. Is this tragedy real, or is something strange going on? This opening narrative has some great miniature work and some dreamy flashbacks. The atmosphere is eerie and the harpsichord music is effective, even if later it starts to sound like The Addams Family theme. The weirdly European house also sets the stage, and is filled with spooky statues and antiques. Yuko's grandfather apparently worked abroad as a dignitary, and decided to build a place like this in the Japanese countryside.
Of course the location helps build a very familiar vibe. Beyond the 'dead girl might be alive' story from several Vincent Price/AIP movies, there are also bits and pieces right out of Psycho. There's a weird village doctor and a sinister family servant included too. These local archetypes add to the unsettling atmosphere. It's weird and creepy, but it's also pretty cosy. A few twists and turns later and the story shifts gears, focusing on Kazuhiko's sister Keiko (Kayo Matsuo) and her boyfriend. Soon there are strange sounds from the basement and shadowy figures moving around at night. Not a lot else really happens in the brisk running time, but it's engaging while it lasts.
The really interesting elements come along in the form of Yuko's dark family history. Even the vampirism itself is not about bloody transmission but instead about shame and hatred. Again there are familiar elements as a tale of hypnotism on the verge of death is retold. But while it's not another vengeful female ghost story, the idea of a troubled soul refusing to die is present and correct. Like the Western house being transplanted to a South-East Asian forest, these ingredients are taken from their source and remixed. The ending is disappointingly rushed after a long build up, but there are several dramatic moments along the way. With some stylish touches that help keep things interesting.
Keiko's boyfriend Hiroshi (Akira Nakao) fights for his life on a cliff-side, silhouetted against the night sky. Lighting flashes against a classic Toho scale model of the family home. Lights become dim as characters reveal their personal secrets. It's never as impressionist or colourful as the second film in this trilogy. The house is often drab and plain instead of being overly Gothic. But it's appropriately moody in a story more concerned with real life trauma than supernatural thrills. It does however introduce the idea of ashen faced vampires with gold eyes. The contact lenses might look about cross-eyed, but it's a neat visual nonetheless. Like the story's violence these moments are included sparingly so that the tone is kept from ever becoming silly.
That being said there is a comedy relief grave digger included. Outside the abrupt conclusion, the characters are the weak link in the story. Yuko is talked about in expository scenes, instead of having anything memorable to say herself. Hiroshi and Keiko are stock characters that are often too bland for their own good. While Kazuhiko is barely in the film. Luckily Doctor Yamaguchi (Jun Usami) is introduced just when the story needs an injection of intrigue. His speech about the supernatural and the reveal of his links to Yuko's family are some of the best moments. It's a strange and engaging performance, which compliments the oddly distant nature of Yuko's mother Shidu (Yoko Minazake).
The results are an entertaining, if weirdly brief, mystery movie experience. It could be a story about mental disorders, or even just a revenge tale, to allow more breathing room for the more complex themes. The vampire inclusion is perhaps at odds with the other tropes that are present. The invasion of a nocturnal creature is not a threat when darker forces are already at home. Maybe it's saying something about the tragedies caused during times of war? Or what can happen to broken families don't talk about old wounds? Reading more into all this might be a stretch considering what is actually here. Still, it's an interesting experiment, a blend of various cinema traditions. One that would lead to two other films that are also worth seeing.
3/5
