This film is deceptive and has clearly confounded a number
of reviewers on horror sites and IMDB as it was intended to do to the Spanish
censors at the time of release. To understand director and writer Vincente
Aranda’s motives and meaning you need to consider the situation in Spain at the
time, thirty-odd years after the fascists won the civil war and still some
years away from the liberation that came following the death of Franco in 1975
and the restoration of democracy with the new Spanish Constitution of 1978.
Liberalisation followed as did a new era of creative expression, La Movida
Madrileña led by the likes of Pedro Almodóvar whose debut, Pepi, Luci, Bom
(1980) reflects the spirit of the Madrid punk aesthetic of the time.
But in the early seventies, films were heavily censored and
so artists like Aranda had to be careful in their critique of a society that
was heavily regulated and which favoured “traditional” values and militaristic
hypermasculinity. One reviewer, who I won’t quote directly, discusses this film’s
feminism in terms of modern US/UK views on the “patriarchy” and “wokeness”…
which is deeply a-historical and shows the dangers of the
assumption that our entitled rights are guaranteed no matter what “nonsense”
the youngsters favour. Make no mistake, women were second class citizens in
Franco’s Spain and were expected to provide loyal family support, be mothers
and barred from not only becoming judges but even testifying in trial.
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| Alexandra Bastedo |
This film which seemingly fits into the lesbian vampire
sub-genre, was made in a country in which homosexuality was illegal until 1979 with
the fascists having established special prisons called "galerías de
invertidos" ("galleries of deviants") for both sexes. In this
film and in his earlier superb, deeply encoded masterpiece, The Exquisite
Cadaver aka Las crueles (1969), Aranda covers same-sex relationships
with levels of artifice which add enough element of doubt to avoid censorship.
In both cases the English language versions of the films are more specific in
meaning than the Spanish at least as far as I can tell from the subtitles!
Both films directly address the position of women in society
and far from being an attack on the patriarchy that the modern right does not
accept even exists, is a plea for basic rights and equalities that were
absolutely denied.
OK, but what about the “blood spattered” bit? I hear you ask…
well, there is a fair amount of blood and it is spattered throughout this film.
Let me take you through it. The story if loosely based on the vampire novella Carmilla
(1872) by Joseph Sheridan Le Fanu that was also the inspiration for many films
not least The Vampire Lovers (1970), Lust for a Vampire (1971)
and Twins of Evil (1971) – the last two featuring Judy Matheson who
worked with Aranda on Las crueles in which she is superb! Here, as with that film, Aranda is happy to centre the women in the narrative in ways that were atypical even in more liberal filmmaking environments.
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| Maribel Martín |
The film begins with a young bride, Susan (Maribel Martín),
still in her bridal gown, heads off on honeymoon with her, unnamed husband (Simón
Andreu) simply “He” in the script to denote his everyman status or that
patriarchy? Susan sees a beautiful woman (it’s the sublime Alexandra Bastedo!)
wearing bright pink and watching from the shadows and shortly after has a
nightmare about being sexually assaulted by a masked man in her hotel room. She
tells her husband that she cannot remain at the hotel and so he takes her to
his family pile in the country.
Once there Susan remarks how none of the family portraits
are of women and her husband tells her, with no other explanation that they are
downstairs in the basement. Once there they find a portrait of Carmilla who had
apparently killed her husband on their wedding night… her face has been cut out
of the painting. Susan’s wedding night passes with her husband rather
energetically ripping her clothes from her body… how much events are seen from
her heightened imaginative view we are unsure but that’s the director’s choice.
Susan has a vivid dream in which the woman in pink arrives
to give her a long knife with an ornate handle, the woman encourages her to use
it to kill her husband and then stands over his dead body to remove his manhood…
there’s copious amounts of dream blood spattered everywhere. Susan awakes to
find him awake and alive but the dagger is very much real and underneath her
pillow.
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| Maribel Martín and Simón
Andreu |
Carol (Rosa Maria Rodriguez) the young daughter of the
couple who look after the house is accused of hiding the knife and confesses
even though the parents suspect she is hiding something. But there’s something
about the knife and, again in a dream, the lady in pink arrives having
collected the knife from Susan’s husband’s hiding place and the dream slaughter
ensues. The following day Susan knows exactly where the knife is… Her husband
begins to suspect that there is more to these dreams but the family doctor (Dean
Selmier) reassures him that, essentially, his wife is tired and emotional and
needs to rest. They both agree that Susan is "like a child" and clearly she has no part in decision-making about her own health.
Determined to really hide the dagger, the husband drives to
the beach to bury it only to find a woman’s hand sticking out of the sand. He
looks closer and sees the tube of a snorkel and then wipes away sand to reveal
the still breathing face of a blonde woman. It’s an extraordinary moment –
surrealist and unexpected – and the naked woman rises to reveal herself as Susan’s
lady in pink, Mircala as she calls herself after accepting a lift back to the
man’s house. Susan had been drawing this woman from memory and now, sketching
Mircala she realises that they are one and the same.
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Alexandra "Sandy" Bastedo uncovered on the beach
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That night she leaves the marital bed to join Mircala in the
woods only to return at dawn with the other woman apparently gone but with what
looks like a bite mark on Susan’s neck. The young woman is not herself though
and after Carol’s father (Ángel Lombarte) reveals that he had seen the two
women engaging in some ritual in the woods, the Doctor follows the next night
to see the same in the ruins of a church on a hill within the grounds of the
estate. Next Mircala is teaching Carol’s class about the nature of human blood,
and clearly is influencing the youngster as well as Susan.
From this point you’re on your own in terms of
interpretation as the story heads towards a splattering conclusion that breaks
down as women versus men. On the face of it the vampires must be stopped but is
this what we’re really seeing as the weapons and the hunting devices are brought to bear in an attempt to keep the women in their place? Also… Mircala, hang on, is that an anagram!?
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Some excellent framing from Aranda - amazingly, this was a four-week shoot!
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Dusty Verdict: I watched the Mondo Macabra Blu-ray of
The Blood Spattered Bride which includes a 4k transfer from a 35mm
negative (hurrah!!) as well as outtakes, an alternate ending, a commentary from
writers Samm Deighan and Kat Ellinger along with interviews, including one with
Simón Andreu. Andreu has made many hundreds of films on TV and film and would
rate this film as one of the dozen or so he is glad to have been involved in.
He didn’t always see eye-to-eye with Aranda, who wanted more gore, more sex and
explicitness, but perhaps he didn’t see the director’s hidden agenda? If the
film translated well to the English-speaking market it would give him more
revenue and also a bigger voice internationally at a time when the battle
against Francosim was reaching a key stage.
Aranda’s direction makes the most of what has become an all-too-common
storyline but which he uses to create mysteries and a haunting quality much as
he did with Las Crueles. The actors all do well, despite Andreu’s
comments, the director clearly was good with his players, and Martin, Bastedo
and young Rodriguez are all very good as is he!
Highly recommended along with a study of Spanish history when the right wing really got a chance to govern as they wished. The Mondo Macabra Blu-ray is excellent and I only wish they or
somebody would perform the same service with Las Crueles!!
PS Director Quentin Tarantino named a section in Kill
Bill: Volume 1 (2003) after The Blood Spattered Bride. He knows…
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Triumph TR4 sports car, oh my yes!!
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