#4 Les Vampires (1915)

Les Vampires is a ten-part French serial that, clocking in at 440 minutes total, took us about 20 nights to watch in little spurts between February 4 and March 20. January and February were some slow months because of Louis Feuillade’s serial film, but for some reason, we felt relaxed, calm, and familiar when we watched this super long work in these little digestible chunks.

We watched the complete Change Before Going’s edition of Les Vampires on YouTube as it is in the public domain. The only complaint we had was the lack of soundtrack in this edition, and it is curious to wonder what the program is usually presented with. Of course, we were spoiled by Air’s scoring of Voyage Dans La Lune. So, we tossed Pandora on and listen to some of my favorite Frech music, namely my Coeur De Pirate station – sure, it was probably terribly inauthentic, but it was something.

Les Vampires is an interesting film, “much like the detective story and the haunted house thriller (and) creates a sturdy-looking world of bourgeois order while also undermining it…porous with trap doors, secret panels, (and) massive fireplaces that serve as thoroughfares for assassins and thieves” (Rubin). While you can’t expect any actual Vampires in this flick, the seedy criminal underbelly of Paris crawling with thieves, murderers, crooked cops and judges, and ne’er a face to trust, traveling through this world with Phillipe Guerande and his bumbling protean fellow Mazamette is a lot of fun. The attractive mastermind behind all of this, Musidora’s Irma Vep, easily holds the entirety of this series together just beyond the grasp of the law. Les Vampires is a little silent story in a crooked funhouse world, perfect before bedtime.

https://en.wikipedia.org/wiki/Les_Vampires

Jennifer

This was an interesting introduction to the very beginnings of cinema.  Like A Trip to the Moon, this film is a funny little mixture of theater and motion pictures.  The characters were well developed, and during several scenes, Garrett and I were shocked or delighted with the twists and turns of the plot.

The series is long.  Like, not just “boy, this is a long movie” – long, like, we watched it over weeks. It’s a silent film so most of the storytelling is through character’s nuances and actions. Also, I may have thought there were real vampires in this movie for way too long and wondered when they were going to show up…

Very happy we watched this!  If you can’t commit to the whole series, even one “chapter” is worth a view.

Garrett

I loved this movie. It was huge, long, spooky, silly, and at times a little hard to follow what they were trying to do. But by the end, it was a familiar comfort to turn it back on and venture back into this crooked, spooky little piece. I enjoyed brewing some tea, getting some biscuits ready, and sitting down for a new installment. Of course, Les Vampires has nothing on today’s sitting down and bingeing on a series by a long shot, but the silence requires an attentive patience and appreciation of stage theater and pantomime to get through. Once you get beyond that, waiting for someone new to pop out of a cabinet or a fireplace becomes an enjoyable and exciting prospect. There were so many criminals swimming around everywhere. Allegiances to characters you can trust shift from scene to scene until a few gestures become recognizable under a shifting costume (I can’t express how many times I found myself saying, “ohhhhhh, here’s Mazamette again, trying to pay his kids’ tuition, the poor guy,” so of course, he’s who I channel in the photo – in typical terrible Mazamette disguise).

A fun film that definitely laid the groundwork for film storytelling in many future films. I was really curious about how this was rolled out in theaters. I think I would be the first in line to see the newest installment and watch the week’s cartoons and newsreels alongside it. The sets, theatrics, and pantomime performances are quite revolutionary for the time, and I enjoyed every night I spent with Les Vampires. With clear influences on Hitchcock, Lang, Brecht, and films like M, The Threepenny Opera, and a host of others, this piece defined the thriller for legions of directors and audiences for at least the next hundred years.