I first read about this in Fred Olen Ray's fantastic "The New Poverty Row", so when I saw it for $5 at Grimsby Giant Tiger, I scarfed it up. And damned if it doesn't have Ray himself introducing the thing in a sexist intro that will do nothing for his Irving Thalberg Award campaign. As for the movie itself, well, there's not much to say. It's an example of the era's Filipino horror output - and not one of the best (!!!) either - mom is supposed to be dead but she's locked in the basement and has turned into a vampire, and bites her son, and quite limited action ensues, some involving locals in blackface as happy slaves. Dull and slow and not nearly as tawdry as the scene's rep.

Bona-fide film buff here, with long family history in Hollywood (famous cinematographer, script consultant). In short, I know my beans somewhat, and am now going to defend this much-maligned horror film from the Phillipines. Yes, "Curse (or, 'Blood') of the Vampires" is far from sophisticated material. It has no such pretensions but is a product of its time and as such, is of considerable interest to film buffs like me. A sprightly waltz opens the action as a rather sedate family celebration is underway, marking the return of brother and sister to the family fold after some years spent away. They find old love interests and reignite the flame. Something charming in such simple romantic notions as fidelity, chastity and devotion. No drama, no lust, just pure romance until their vampire mother puts the bite on her son. The mood darkens; the reason the siblings were sent away was to protect them from all knowledge of the family curse. The doomed couple, Daniel and Leonore, effectively played by capable Filipino actors and a most attractive pair, are forbidden to marry lest the curse breed on. As the lovers flee together Daniel is killed in a carriage accident, leaving Leonore at the mercy of her now-vampire brother. What's worse, it was her vampire brother Eduardo who sabotaged the carriage, causing the fatal accident. What remains is a ghostly denouement, proving that love is strong as death. The cinematography is at times quite masterly and as has been said the production team were not your typical B-movie ragbag but classically-trained film-makers. The color is variously garish, faded, and overdone, all of which lends an air of unreality. The sound is not pristine by any means, but adequate. The setting is weird- Spain? Phillipines? A Caribbean island?- one never knows exactly, and the happy slaves in black-face confuse the issue further, creating an unsettling air. The way Eduardo's wife submits to him as her master and becomes his willing slave is perhaps the most erotic scene and there are a number of these, but none egregious. So, an oddball film of the genre, essentially much better than one would expect, but you have to be prepared to accept the offbeat and the unusual in order to get the most out of this film. I have watched a good clear copy for the past three nights in succession and my admiration has only grown. Loved it in my twenties and to my great surprise and delight, find I appreciate it even more now than I did in the 1970's.