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Solitary and Abhorred: Vincent Price as The Last Man on Earth

Last Man on Earth, British Quad Poster
Last Man on Earth, British Quad Poster

Richard Matheson’s seminal post-apocalyptic vampire novel I AM LEGEND (1954) has been adapted into film three times * — most closely as “Last Man on Earth,” an English-language Italian production starring Vincent Price from 1964. Based on the book — with Matheson writing a first draft that was later abandoned — “Last Man on Earth” is often overshadowed by 1971’s “The Omega Man,” starring Charlton Heston, or 2007’s CGI-heavy “I am Legend,” starring Will Smith. Yet the 1964 film, despite its immediately apparent (incredibly) low-budget, is certainly the most faithful to the spirit of the novel. And it has as its star the always brilliant Vincent Price. Here, he is at his most melancholic. But he is no Robinson Crusoe, stranded on an island. Instead, he IS the island, stuck in a sea of desolation.

GRIEF AND DEPRESSION

While the book, and each adaptation, explore the isolation of the main character, only Matheson’s novel and “Last Man on Earth” spend considerable time on grief and depression.

“Another day to get through,” is the voiceover that opens the film. “Better get started,” Price adds, as if another intolerable day holds no meaning beyond survival.

It’s a tone that is repeated over and over again throughout the film. This is not the confident swagger of Charlton Heston in “Omega Man,” or the dedicated scientific curiosity and concern that is Will Smith’s turn. Clearly, Price is neither the last bastion of mankind’s art and culture (Heston) or its self-appointed savior (Smith). He has lost family, friends, and a purpose. He is a man with little hope for the future, spending his waking hours looking for survivors, and killing vampires.

MONOTONY AND MEMORIES

That these others are vampires is almost immaterial. Sure, they are repulsed by garlic, can’t stand mirrors, and are easily dispensed with a stake to the heart, but Price’s character never seems to think of them as monsters. He is more sympathetic to their situation. And the horror clearly comes from his memories of what was. Of what these people once were. His family, and friends. The horror of isolation. The horror of of remembering how things used to be.

While not part of the voiceover, one line from the novel could well be the theme of the entire movie.

“In a world of monotonous horror
there could be no salvation in wild dreaming.”

Memories and daydreams bring no peace. Even the temporary elation of finding a dog for a companion eventually leads to despair. Even the dog is infected. It must be put down.

THE TRUE MONSTER

SPOILER: in the novel, it is made clear by the final chapter that in a world populated by vampires, the vampire-killer becomes the monster. Neville / Morgan is feared as the man who brings death while the rest of the world sleeps. It’s only with the main character’s execution that the world rid itself of the true monster and move on.

“Last Man” and “Omega Man” both find their Morgan / Neville characters killed before the movies’ closing credts (both ultimately dispatched by spears in scenes of obvious Christ symbolism]). The plot of “Omega Man,” however, makes clear in its world of survivors, that “civilized” man’s art, culture, and, particularly, its science, are to blame for the plague. The survivors rally around a charismatic leader who refers to his “Family” — a none too subtle reference to Charles Manson (who, himself, had prophesized a (race) war).

In “Omega Man,” the fall of mankind is tied to biochemical warfare. And it raises the question of man’s hubris with waging wars that no one can win. But there is no doubt about it; Heston is the hero. Not the monster.

Similarly, Will Smith’s Neville is heroic, although a little misguided. The monsters exist because of a cure for cancer gone wrong. He experiments on them in an effort to return their humanity. It raises the question of man’s hubris with altering nature. Its subtext — and theatrical ending — become matters of bio-ethics. Smith lives, and there’s hope by the film’s end.

Price’s death, however, is the closest to the spirit of the novel where Neville is outright executed. Morgan is killed simply because he exists. It doesn’t matter what caused the plague. There are no politics. He’s just in the way of the future.

SOLITARY AND ABHORRED

“Last Man on Earth” has absolutely no pretensions to condemn mankind (or a single man) for hubris. Instead, it focuses on the psychology of the individual who craves human contact.

In that respect, Neville / Morgan is much like another misunderstood creature: The Frankenstein monster. Its an inversion of sorts, where one creature finds itself shunned by mankind, and one by its replacement.

Price could very well have added voiceover taken directly from Shelley’s novel, and it would not sound out of place:

“Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred.”

LEGACY

“Last Man on Earth” did not get particularly good reviews upon its release, but has since enjoyed relatively good reception as more and more people discover it. It currently holds an 80% fresh rating on Rotten Tomatoes. Its detractors, however, point out the slow pace and the low budget. Decide for yourself. You can watch it in its entirety on YouTube.

Four years after its release, George Romero’s “Night of the Living Dead” changed the horror movie landscape. And in a 2008 DVD release of the film, Romero made it clear that “I had written a short story, which I basically had ripped off from a Richard Matheson novel called I Am Legend.” It is not too much of a stretch to think that the Vincent Price film may have influenced him, too, especially with its relentless horde of zombie-like creatures pounding on the walls and doors of a house — in deliciously stark black and white!

Whatever its legacy, “Last Man on Earth” is memorable if only for Price’s performance. As with most films in which he starred, he steals the show, and it is haunting just to hear him lament his circumstances: the monotony, and the horror of it all.

Note: I realize that the novel has technically been adapted four times, with the fourth being 2007’s “I am Omega,” released at the same time of the Will Smith movie. Such films are often referred to as “mock-busters” — b-movies meant to capitalize on larger mainstream releases. I haven’t seen it, and, frankly, don’t intend to!

No Slave to Man: Delphine Seyrig and Daughters of Darkness

Delphine Seyrig as The Countess in Daughters of Darkness
Delphine Seyrig as The Countess in Daughters of Darkness

Harry Kümel’s Daughters of Darkness (1971) — starring Lebanese-born French actress, director and feminist Delphine Seyrig — is arguably the best of several early nineteen seventies’ revisionist vampire films that either subtly suggest or outwardly depict unabashed lesbianisn. Along with films like Roy Ward Baker’s Vampire Lovers (a 1970 Hammer film with the amazing Ingrid Pitt) and José Ramón Larraz’s Vampyres (a joint Fox / Rank production from 1974), Daughters of Darkness has been dissected by critics and scholars alike that see in the vampire myth evidence of both misogyny and female empowerment. But the strength of this particular film is, without question, the magnetism of its star.

THE ACTRESS

Growing up in an intellectual environment (her father was director of Beirut’s Archaeological Institute and later became France’s cultural attaché in New York during WWII), Delphine Seyrig was an actress of some reknown in Europe. After attending the famed Actor’s Studio in 1958, she went on to work with directors like François Truffaut and Luis Buñuel in the 1960’s. In her late thirties when she appeared in Daughters of Darkness, Seyrig was ideal for the part of the Countess — a character requiring beauty, mystery, culture, and maturity. But Seyrig brought to the role one additional, essential element: her political attitudes toward’s women and what it means to be feminine. “I think when my happiness depends on a man, I am a slave and I am not not free,” Seyrig said in an interview with the Institut National de l’Audiovisuel in 1972 (my translation). Such a view was necessary to successfully embody the strong, independent character of Daughter’s Elizabeth Bathory.

THE FILM
Delphine Seyrig as Countess Elizabeth Bathory in glorious silver lamé
Delphine Seyrig as Countess Elizabeth Bathory in glorious silver lamé

An aristocrat in furs and silver lamé gowns, Seyrig’s Elizabeth Báthory (based, at least in name, on the historical late 16th century countess of whom I have written about before) is a mysterious Hungarian countess who — as we learn early in the film — has lived a long life and traveled extensively (leaving bodies in her wake!).  She arrives at a seaside resort, the hotel Ostend in Belgium, accompanied by her “secretary” Ilona (Andrea Rau). There, she immediately becomes enamoured with newlyweds who themselves have just checked into the hotel. The Countess is instantly taken with buxom blonde Valerie (Danielle Ouimet); much of the film builds to the seduction, ruin and ultimately, the empowerment, of this all too innocent bride.

Daughters of Darkness (Belgian poster)
Daughters of Darkness (Belgian poster)

“One must never be afraid to look deep down into the darkest depths of oneself. Where the light never reaches,” Bathory tells Valerie as the girl begins to free herself from her abusive husband and form a bond with the Countess. Their journey together into the darkness of vampirism is at the very heart of the movie. (SPOILER ALERT!) By film’s end, Valerie becomes a substitue for Ilona, and ultimately, an heiress to the metaphorical throne of the Countess herself. A husband is not needed. And no man, ultimately, is a threat. It is the hand of fate, and not a vampire killer, that does the Countess in.

Its story and feminist overtones aside, Daughters of Darkness is just a beautiful movie to watch. Its sets and character design are a mix of old world and new — very European, yet oddly enough old Hollywood at the same time. Kumel, interviewed for the BBC documentary Horror Europa has said that he intentionally styled Delphine Seyrig’s character after Marlene Dietrich, and Andrea Rau’s after Louise Brooks. The two are gorgeously “made up,” and a sense of yesteryear in their characters plays brilliantly to their mysterious (and deadly) intentions.

THE LEGACY
Lady Gaga as The Countess in American Horror Story: Hotel
Lady Gaga as The Countess in American Horror Story: Hotel

Both cult classic and artistic achievement, the film is one of the few of its kind to eschew exploitation in favor of atmosphere and style. It has been praised by Camille Paglia in her landmark work of scholarship Sexual Personaeand has influenced many vampires on screen since — most recently (and notably) Lady Gaga’s turn as “The Countess” in television’s American Horror Story: Hotel (2015).

In the end, it is Seyrig’s performance that pulls everything together — style and substance. Often overlooked among those films that should be considered the best of the vampire genre, Daughters of Darkness is currently streaming free for subscribers to Amazon Prime Video.