Page 185 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945

audience is accustomed. It can be representational but also symbolic or relational to the character's
emotional or spiritual state. In particular the use of music in some of Rollins films approaches
modern interpretation of silent screen music. In Le frisson des vampires the intense musical soundtrack
is freeform, all engulfing and representative of the music associated with (sound) re-issues of German
expressionist or surrealist silent films - rhythmic but avant-garde. In contrast the music to Requiem
pour un vampire is more in tune with what people expect' from a silent soundtrack - the music
either reflects the themes (ominous graveyard at night = organ music) or uses leitmotifs to represent
characterisation. A good example of this strategy lies in the scene where Michele and Marie try to
escape from the vampire's gang. Both the pursuers and the pursued have quite strikingly different
pieces of music to represent them — the girls' music plays as we see them run but as soon as the
vampire gang come into shot it alters to their theme. This helps mirror the events on-screen to create
a sense of urgency but it also draws attention to itself as a stylistic decision that heightens the pulp
nature of the proceedings. Similarly the scenes of Michele and Marie romping around with randy
passers-by is accompanied by a more jovial tune, to emphasise the seaside (there it is again!) postcard
nature of the goings on.

CONCLUSION

After over thirty years bringing audiences his unique vision, Rollin is still making films, and more
importantly still making vampire films (at the time of writing his most recent film is La fiancee de
Dracula (1999)). Although attitudes and censorship have changed constantly over this time, his driving
visual thrust has remained remarkably consistent. His (vampire) films are no more pornography than
a painting by Delvaux, although the opportunity to extend the mote risque elements of his work has
always been available to him. This is not to say that he has not altered his manner of showing us his
artistic endeavours. Since Le viol du vampire there has been a definite path that takes him further
into the realms of narrative film and coherent plotting. While this makes his films more accessible
(Fascination and La morte vivante, for example) they also lose some of their enigmatic veneer.
Although visually resplendent, Les deux orphelines vampires appears to be a far more conventional film
than his earlier, more experimental, work. The balance between mystery and understanding is what
defines his films, the scales being tipped towards understanding the further into his career one looks.
That said, his body of work is still far removed from the mainstream of cinema and remains one that
will continue to exett delicious fascination upon anyone who falls for its dreamy, erotic and surreal
charms.

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