From it's stunning opening to its shattering climax, Twins of Evil is anunremittingly brutal movie. Burnings, stabbings and decapitations areunflinchingly displayed, and, because this *is* a seventies Hammer film,there's some softcore nudity as well. But for all that, this is also asupremely elegant film that shies from clear-cut good and evil distinctions,preferring to paint its characters in subtler shades. Peter Cushing gives amagnificent performance, taking the single-minded fanaticism of his VanHelsing character and notching it up several degrees to create the trulyterrifying Gustav Weil. Weil, a ruthless, sexually-repressed Puritan, getshis kicks from burning young women whom he accuses of witchcraft. OnlyCushing could imbue the potentially laughable line 'the devil has sent metwins of evil!' with a shiver of sexual pleasure as he anticipates theinevitable pyre.<br><br>Visually, Twins of Evil is stunning. There are several set-piece moments,including a beautifully directed vampire resurrection, and the climactictableau on the steps of Karnstein Castle. The film is saturated in blues andgreens, which only makes the dayglo-red blood seem all the more shocking.The score, and the opening theme in particular, is memorable.<br><br>Twins of Evil is a remarkable film, taking the grandeur of The Brides ofDracula and the brutal intensity of Frankenstein Must Be Destroyed, andcombining them with the new house style introduced in The Vampire Lovers.What really distinguishes it from its contemporaries is Cushing's brilliantperformance: more villainous than the dandyish Count Karnstein, more heroicthan the ponderous Anton, the synthesis of antagonist/protagonist in Weilelevates Twins of Evil to genuine greatness. The best of Hammer's latterdayhorror films.
Twins of Evil
Twins of Evil
In nineteenth century middle-Europe, orphaned teenage twins Maria and Frieda go to live with their uncle Gustav Weil, who heads the Brotherhood, a vigilante group trying to stamp out vampirism. But their methods are random and misplaced and the only result is a terrorised populace. The real threat lies with Count Karnstein, and although the twins seem outwardly to be identical, Frieda finds herself much more drawn than her sister to the Count's castle dominating the skyline.
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