Legendary vampire

Louis Faurad's series of legendary works is regarded as a landmark in the history of the series of films, a pioneer in the use of deep collections and windings by Jean Renoir and Orson Wells, and a close relative of the Surrealist movement, but its most far-reaching significance is to promote the development of competitive cinema. The film is divided into ten loosely linked chapters, with no gripping ending, the film procrastinating, the timing of the next film being unstable, and flaws of one kind or another between each of Vampire's films. The complex and often contradictory plot revolves around an exaggerated Paris crime syndicate – vampires – their opponent is the indomitable journalist Philippe.

These masters of disguise, usually dressed in black tunics and masks, are led by four "big vampires" of different ranks. The big vampires who are eliminated one by one in the film are loyal to the vampire queen Irma Vep (whose name is actually the vampire inverted alphabetical order), who is not only the soul of the vampire organization, but also

The heart of Vampire is all about. The beautiful and vibrant Musdora became famous in one fell swoop, playing Irma as the most glorious character in the film, clearly surpassing the pale hero Philimon and his hilarious partner Mazamet. Her extraordinary rhetoric creates the theme of the film's battle between good and evil, adding a bit of charm that has nothing to do with moral issues, and the same treacherous behavior of the good and evil characters in the film, and the terrifying and cruel slaughter of the vampire race at the end of the film, also make her performance more eye-catching. Like detective films and haunted house genre thrillers, Vampire creates an orderly, mundane world while subverting it.

The thick walls and floors of the kasbah and hotel are covered with secret trap doors and partitions: the heavy fireplace became a secret passage for assassins and thieves to enter and exit, and they also shuttled like monkeys through the roofs and drains of Paris. Taxis will always have hitchhikers on top, and the active sewers on the road will be built to facilitate the outlaws to quickly enter the sewers. There is a scene in the film where the unsuspecting protagonist sticks his head out of the window of his apartment, is immediately grabbed by the rope noose thrown from below, dragged to the street, hurriedly stuffed into a large basket, loaded into a taxi to take away, all of which happens between the lightning stone fire, and the protagonist even reaches the mouth of "Irma Vip!" "There was no chance to shout out.

In another scene, a wall with a fireplace suddenly opens and a cannon appears and slides to the window, hitting the shell into a neighboring hotel. This ups and downs is further reinforced by a series of perverse plot arrangements, including the disguises of the two sides vying for power: the "dead" are resurrected, the pillars of society (priests, judges, policemen) become vampires, and vampires become law enforcers through disguise. It was Foirad's talent that created such a vast and imaginative dual world of reality and fantasy, seemingly familiar and excitingly strange – this is precisely the value of the film in the history of thriller cinema, and established director Voyllard's position as a pioneer in this genre.