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Thevampire moviesthat proliferate in the ‘ 70s were n’t your run - of - the - mill graveyard spookfests . Spurred by both a spherical horror ( for example,’70s British folk horror ) and the victimisation boom brought about by loosening censorship codes and by theFrench New Wave movementthat respond to both phenomenon , this chivalric monster got noticeably … flakey .
In a period of time shaped by political modification , particularly in the consequence of infinite revolution ( geopolitical , intimate , and otherwise),artists and capitalists alike look at advantage of the vampire as a fig ripe for social comment , irony , and grave erotic charge(vampires are excellently seductive ) . Across the globe as well as across Hollywood , leech held audiences hypnotized in films that remain salient ( and sometimes shivery ) today for their daring , often confidently observational , or at least confidently gonzo , plan of attack .
With classics like El Topo and McCabe & Mrs. Miller , the 1970s mark the end of the westerly genre ’s blossom and the dawn of the anti - westerly .
10Cuadecuc, Vampir
Released In 1971
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This experimental , largely silent Spanish film is a metacommentary on the vampire film as a literary genre . cold shoulder from footage and behind - the - scenes footage from Jesús Franco’sCount Draculastarring Christopher Lee , it meditates on the constructed nature of concern , abstracting the concept of mythmaking through its use of stillness , surplus footage ( of car , tree , etc . ) , and behind the scenes second of planning . It ’s short , scrappy , and playfully rational , still tell the floor of Dracula even as it take out the meat off its bones .
Interestingly , this scrappy avant - garde treasure wasdirected by Pere Portabella , a Catalán politician who aid draft the Spanish Constitution after the gloaming of Francisco Franco ’s government .
9Dracula A.D. 1972
Released In 1972
Dracula A.D. 1972 , directed by Alan Gibson , follows the Christ’s Resurrection of Count Dracula in 1970s London after a black witching ritual . Dracula ’s servant , Johnny , lures victims for him , let in Jessica Van Helsing , whose grandfather confronts the Count in a conflict of goodness versus evil .
Dracula A.D. 1972 , thesixth British Hammer Dracula moving-picture show starring Christopher Lee(who began playing the theatrical role in 1958 ) , takes the franchise in a different instruction . set the film in the London mod / flower child scene , its comedic tone , great soundtrack ( mixing Casimir Funk and disturbance music ) , and psychedelic milieu make it an interesting and now and again rummy lookout .
It was commission in bicycle-built-for-two with its sequel , The Satanic Rites of Dracula , as a way of cashing in on the earned run average ’s fascination with all - things supernatural , particularly in the wake of a literal - life churchyard desecration in London ’s Highgate Cemetery in 1968 .
instinct with occultism , contraband magic , and hammy groaners delivered by men in suede cloth vests and headbands , Lee ’s talent for comedy is just visible under the surface of his iconically creepy take on the character . It was commission in tandem with its sequel , The Satanic Rites of Dracula , as a means of cashing in on the era ’s fascination with all - thing occult , peculiarly in the backwash of a real - life churchyard sacrilege in London ’s Highgate Cemetery in 1968 .
8Daughters of Darkness
Relesed In 1971
Stephanie Rothman’sDaughters of Darknessis a plush , attractively produced example of the sapphic lamia subgenre that boomed in the 70s , from microbudget band aid like the since - reclaimedVampyros Lesbosto commercial theatrical products like Hammer FIlms’The Vampire Lovers . The only film organise by a womanhood on this list , Rothman ’s take on the sapphic vampire stories that originated with Sheridan Le Fanu ’s novellaCarmillaand the legend of the serial putting to death , “ vampiric ” Countess Bathory , is compose and mysterious .
Its rather pro forma plotting is buoy up by arresting production design and a wild jumper cable performance from famous French arthouse starDelphine Seyrig(who work with director like Alain Resnais , Chantal Akerman and Francois Truffaut ) , whose mien marks this otherwise B vitamin - movie as a film with an artistic vision .
7Salem’s Lot
Released In 1979
This Tobe Hooper - direct cult - favorite miniseries has had such a direct impact on the vampire genre , and is so cinematic in its manakin , that it deserves a place among the good lamia films of the decade . conform from Stephen King ’s take on the Brahm Stoker tale , this beloved update styles its monster like an expired , entirely silent Nosferatu , with dappled skin and milky eyes .
Gripping in its artificiality and tensely plot , this cult classic is a stark vampire moving picture for a black and stormy night .
Where other vampire films of this decade are more revisionist , Salem ’s Lottreats the devil with a untested son ’s earnest reverence for lore , even if it ’s the kind memorise by flashlight between the dripping , lurid covers ofTales from the Cryptin the ‘ fifty . Gripping in its artificiality and tensely plotted , this cult classic is a double-dyed vampire moving-picture show for a saturnine and stormy nighttime .
6Valerie and Her Week of Wonders
Released In 1970
Jaromil Jireš ’ softcore occur - of - age vampire pic uses cock-and-bull story as inspiration for its bloodsucking blue blood . A meridian example of the Czech New Wave ’s dreamy , hyper - stylized political filmmaking , it ’s as beautiful and delicate as it is confrontational and openly anti - clerical .
In it , Valerie ( Jaroslava Schallerová ) , a pure untested girl , faces off with a band of sexually and capitalistically ravening quasi - religious figures and extremity of the rule grade . She floats from place to position , evading their foresightful - finger clasp , in a series of vignettes that ’s at once unsettling and arrestingly beautiful . The movie is like a storybook total to life-time – – a footling too close to bedtime .
5Arrebato
Spanish director and optic creative person Iván Zulueta’sArrebato(Rapture ) uses vampirism as a starting point for its surreal and narcotic tale , rather than a real plot - engine . In this semi - observational midnight moving picture ( its original release was less than two weeks , only finally bring home the bacon after former - Nox runs ) , postulate cinema itself as a vampiric , habit-forming entity .
The central cast of characters , a horror film director ( Eusebio Poncela ) and his girl ( Cecilia Roth ) drop into a slurry life of diacetylmorphine and foresightful - exposure photography . The pic is psychosexually dense , overabundant with longing , lust , and malaise . As metre passes , these impulse are transfer over toArrebato ’s unfeigned inwardness , the eerie , semi - sentient film they shoot and edit out constantly , which seems to suck up their aliveness - power like the drugs they snort and throw in .
4Blacula
Blacula is a 1972 film directed by William Crain . It features an eighteenth - century African prince who is transformed into a lamia while in Transylvania . He reawaken in 20th - century Los Angeles , encountering residents and a woman he believes embody his long - lose wife .
At the height of the blaxploitation rhythm of the mid-1970s , several horror motion picture were bring to the subgenre right even as more experimental film likeGanja & Hesshappilytoed the product line between arthouse psych - out and grindhouse softcore in their style .
Blacula , the most famous and lie with of the era ’s horror - blaxploitation , is cheerfully sanguineous , playfully knife - in - impudence , and maximalist in tone and glide slope . WhereGanja & Hessplays vampire lore as a tragic and harrowing metaphor for racism , Blaculatakes the opposite tactfulness , intermix humor and scare to turn the succubus in the pointy ness ( WIlliam Marshall ) into a Baadasssss avenger , an African prince who Count Dracula bit in when he came to talk over their working together to terminate the slave trade . The film is rowdy , raunchy , and very fun .
3Martin
Released In 1977
Martin is a 1976 repugnance film directed by George A. Romero . It follows a young man , who believe he is a vampire , as he struggles with his blood line - craving itch while living with his senior first cousin in a low Pennsylvania Ithiel Town . The motion picture examines theme of identity and isolation .
Like almost all of George Romero ’s revulsion confection afterNight of the Living Dead , Martin , his vampiric metaphor for drug addiction and deindustrialized social estrangement was underseen and underappreciated , dependent to a circumscribed US release and a strange snarl of complex distribution : For illustration , one left over final result of these machinations means the Italian recut , Wampyr , bluster a soundtrack by Argento collaborators , Goblin , while , there is no American Region 1 blu - ray of Romero ’s original cut of meat ofMartinto this day .
Whether or not this is true , he murders char with stab of diacetylmorphine and tope their blood .
The cinema is a noisome peep into the life of a untried man , Martin ( John Amplas ) , who thinks he ’s a vampire . Whether or not this is true , he murders women with blastoff of heroin and tope their blood . An Old man , Cuda ( Lincoln Maazel ) , who believes in vampires , hunts Martin . Quiet and liminal , Martin is a bittersweet small - Ithiel Town catastrophe in a horror film ’s threadbare , hand - me - down dress .
2Ganja & Hess
Released In 1973
The story ofGanja & Hessis as wind and nonlinear as the film ’s own tale . This avant - garde gem of inglorious celluloid , which star Duane Jones ( comfortably known forNight of the Living Dead ) , was screen at Cannes and beloved by critic , only to suffer a hacker job recut and gimmicky , softcore VHS release comply its misfortunate boxwood office rivulet .
This film ’s meditations on Black ethnic expunction , acculturation , and clerical hypocrisy are delivered like a string of half - remembered ambition just before waking , always swaying from soft contemplation and eroticism to shameful , graphic violence . It ’s daring , often call “ before its time , ” and remains precipitously modern and unequalled . The original cold shoulder ofGanja & Hesshas been restored and appear regularly at repertory houses and museums .
1Nosferatu the Vampyre
German auteur Werner Herzog take on the myth ofNosferatuat the end of the decade , in an version that synthesizes many of the aesthetic pleasure of the external artistic cutting edge of the consequence . His morose , nihilistic , proto - goth take on this FW Murnau film stars Isabella Adjani , whose work in film like Polanski’sThe Tenantand , afterwards , Andrej Zulawski’sPossessionmark her as an unmatched talent , fighting the powers of darkness in apocalyptically plague - ridden Wismar , Germany .
The plastic film ’s vampire is played by long - running Herzog enhancer ( and frenemy ) Klaus Kinski , whose study is set by a heated , edgy unpredictability , who stalk a ghostly city , a lonesome design of tragic poignancy . The moving-picture show is moving , morbid , and magnetic .
Dracula A.D. 1972, directed by Alan Gibson, follows the resurrection of Count Dracula in 1970s London after a black magic ritual. Dracula’s servant, Johnny, lures victims for him, including Jessica Van Helsing, whose grandfather confronts the Count in a battle of good versus evil.
Blacula is a 1972 film directed by William Crain. It features an 18th-century African prince who is transformed into a vampire while in Transylvania. He reawakens in 20th-century Los Angeles, encountering residents and a woman he believes embodies his long-lost wife.
Martin is a 1976 horror film directed by George A. Romero. It follows a young man, who believes he is a vampire, as he struggles with his blood-craving urges while living with his elderly cousin in a small Pennsylvania town. The film examines themes of identity and isolation.
