In 1963, Hammer Films ventured into new territory with Kiss of the Vampire, directed by Australian filmmaker Don Sharp in his first foray into horror. Known for its atmospheric Gothic settings and a lineage of vampire classics, Hammer Films took a bold step with this feature, diverging from their established formula in notable ways. The result is a film that, while struggling to escape the shadows of its predecessors, laid the groundwork for future Hammer productions and found its own place in the annals of horror cinema.

One of the most striking aspects of Kiss of the Vampire is the absence of Hammer stalwarts Christopher Lee and Peter Cushing. Their iconic portrayals of Count Dracula and Dr. Van Helsing, respectively, had become synonymous with the studio’s vampire offerings. Their absence in this film led to a noticeable shift in tone and dynamics. Without the towering presence of Lee and the steadfast heroism of Cushing, Kiss of the Vampire introduced new faces and a fresh narrative approach.

Director Don Sharp, in his first venture into horror, brought a unique vision to the film. His direction emphasized a blend of horror and subtle comedy, setting a benchmark for future Hammer productions. This slight comical turn provided a distinct flavor, differentiating it from the more intense and serious tone of its predecessors. The film’s plot, revolving around a newlywed couple who stumble upon a vampire cult, allowed Sharp to explore themes of seduction and corruption with a lighter touch.

The cast, featuring Clifford Evans, Edward de Souza, Noel Willman, and Jennifer Daniel, delivered commendable performances. Evans’ portrayal of Professor Zimmer, a vampire hunter with a personal vendetta, offered a new kind of hero for the Hammer repertoire. The absence of Lee and Cushing allowed these actors to shine, and their performances helped to anchor the film’s narrative.

Kiss of the Vampire also set the stage for future Hammer films with its introduction of more elaborate set pieces and special effects. The climactic scene, drawing inspiration from Hitchcock’s The Birds, featured a swarm of bats attacking the vampire cult—a visually striking and memorable conclusion. However, this similarity to The Birds also highlighted the challenges Hammer faced in distinguishing its work from contemporary horror successes.

Hammer Films sought to leverage the popularity of their earlier vampire hits like Dracula and The Brides of Dracula. However, the weight of their own success proved a difficult shadow to escape. Kiss of the Vampire was unable to replicate the same level of impact, partly due to audience expectations and partly because of its less intense approach.

Despite its mixed reception, Kiss of the Vampire remains an important film in Hammer’s catalogue. Its experimental approach to narrative and tone paved the way for more diverse storytelling within the studio’s horror oeuvre. The film’s blend of horror and humour, along with its memorable visual moments, ensured that it would be remembered and even parodied in later works.

The Prognosis:

Kiss of the Vampire is a film that dared to take risks, offering a fresh take on the vampire genre. While it may not have achieved the same iconic status as some of Hammer’s other productions, its influence is undeniable. Don Sharp’s first venture into horror was a bold and commendable effort, marking a significant step in the evolution of Hammer Films.

• Saul Muerte