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Vampire Circus (1972) - Cult Film Index Review

Robert Young’s Vampire Circus is one of Hammer’s most stylish, sensual, and savage departures from their gothic formula, a feverish blend of plague-era paranoia and traveling-carnival nightmare. After a village assassinates the seductive vampire Count Mitterhaus (Robert Tayman), he curses the townspeople with his dying breath. Years later, while the town is quarantined by a deadly plague, a mysterious circus arrives, led by the hypnotic feline-like acrobat Emil (Anthony Higgins) and a troupe of performers far too beautiful and dangerous to be human. When children begin disappearing, and dark seductions multiply, it becomes clear: the circus exists to fulfill the Count’s promise of revenge. Young directs with a vivid, almost psychedelic color palette, while cinematographer Moray Grant fills the screen with fog, red velvet, and surreal performance imagery. The film boasts one of Hammer’s strongest ensemble casts, including Adrienne Corri, Lynne Frederick, and Laurence Payne, each contributing to its charged, feral atmosphere. With music by David Whitaker and effects that lean into the grotesque, Vampire Circus balances gothic theatricality with a ferocity Hammer rarely achieved again.

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