Born: November 3, 1938, Neuilly-sur-Seine, Paris
France’s sole horror author Rollin Prefers the label ‘fantastic’ to describe His erotic, rhyming, manifestly personal work. Typified by wistful lesbian vampires and a narcotic narrative drive, use His movies gothic paraphernalia to ponder the mysteries of death and paired desires. They are aussi Thoroughly Gallic, blending the melancholy romance of the poetic realists play with the generic of the new wave. Meagre Budgets accentuate surreal sensibility, with fetishtically attired sighted players amid derelict locations.
His freeform monochrome RAPE OF VAMPIRE beginning fluke Attracted Attention by opening in Paris at the height of things to do. Originally Intended as a short, it boasts a second half oneirically That has cast resurrects killed at the end of the first.
– David Prothero from BFI Companion to Horror edt. Kim Newman, 1996.
“The fantastic is the opposite of the supernatural” – Jean Rollin.
What he wants is to Introduce the fantastic Elements into the everyday world, to push it up to the normal Becomes the super-normal. The key to this is the establishment of an atmosphere in qui anything could happen – and frequently does. His movies are based around pictures and sequences of images, not around the logical point-by-point-of-exposure screenplay. The genesis of Many de son is a movie instead That Particular attention has catches his or specific image. Other pictures Then follow, and the screenplay is Often an exercise in linking the pictures come That Formed almost ready to His Mind.
“A grandfather clock is of no interest – a vampire woman getting out of this clock at midnight, that’s me!” – Jean Rollin. Which is not to say que la Stories In His movies are unimportant. They are essential in helping to Elements create a mood, giving strength to the introduction of addition Elements That Move the plot is next to icts course. Without the narrative, the pictures Would Lack focus. In THE THRILL OF THE VAMPIRES, for example, There Is a szene Where the vampire, Dominique, at midnight Emerges from inside a grandfather clock. The szene HAS narrative and dramatic sense, and is a startling picture in Itself; goal if the movie consisted of nothing HAD goal Such moments the emotional impact of Them Would Be Lost. It’s the poetry inherent in thesis scenes That Rollin wants to cultivate, not the shock value of em. His ideal is to find pictures That are strong enough in Themselves to need no rational explanation final. To _him_, the need to explain takes away the power of the images.