Stroheim assumes mad scientist duties in a figuratively and literally clinical setting. The tension between the hard edged, clean cut surroundings and the dark hot passions bubbling underneath works in the films favor. It is also an early successful example of the marriage between gothic and modern horror styles which would find its apotheosis in 1959 with Franju’s Eyes without a Face. Another one that’s weirdly underrated here.
This is criminally underrated here. An inventive horror indie that takes an almost sympathetic approach to vampirism and culminates in melancholic fatalism. Great dialogue, conflict development and a gamut of sexual neuroses, including sexual repression, homoerotic and otherwise. The only really terrible thing about it is the young couple and especially Maxine Doyle‘s insufferable heroine.