A Celebration of 1. Review. Although THE VAMPIRE AND THE BALLERINA (originally L. In the first place, it marks the directorial debut of Renato Polselli.
Polselli is one of the more intriguing and under- examined figures in European cinefantastique. A philosophy graduate whose films express a distinctive, personal take on psychology, sexuality and morality, striving for freedom from convention and hypocrisy, he continually explored and pushed the boundaries of acceptability. Though THE VAMPIRE AND THE BALLERINA is relatively tame today, it nevertheless part of a continuum that saw Polselli gravitate towards ever weirder and wilder reaches of erotic and even outright pornographic horror over the next two decades. Unfortunately by this time, THE VAMPIRE AND THE BALLERINA.
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His period as a leading Italian genre actor was short- lived; his other key appearances are in PLAYGIRLS AND THE VAMPIRE (also 1. SLAUGHTER OF THE VAMPIRES (1.
He nevertheless maintained an association with the filone cinema, working as production manager on a number of Bruno Mattei. Predictably, they ignore the hints dropped by the Countess (. Their relationship is thus characterised by a certain perversity born of mutual dependency, each alternately the master and slave and in need of the other’s recognition in a fundamentally sado- masochistic manner. Besides being a powerful image in its own right, it also serves as a reminder of the longer tradition of the European fantastique cinema and the impossibility of clearly delineating the better of its products as either . Though THE VAMPIRE AND THE BALLERINA is certainly more classical and conventional than Polselli.
The film can also thereby be related to wider developments in the cinema around 1. This was, after all, also the time of Godard. Directed by Renato Polselli. Written by Ernesto Gastaldi, Giuseppe Pellegrini, Renato Polselli. Cast, Helene Remy, Tina Gloriani, Water Brandi, Isarco Ravaioli, Gino Turini, Pier Ugo Gragnani, Brigitte Castor, Lut Maryk, Maria Luisa Rolando.
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