Review of The Vampires or, The Arch Criminals of Paris (1915) by Oliver K — 23 Feb 2012

â~Les Vampiresâ(TM) is a 399-minute film (or rather film serial) broken into ten pieces, following the story of a mysterious gang that also gives the film its title. Working for good to stop these crooks are reporter Phillipe Guerande (Edouard Mathe) and his friend Oscar Mazamette (Marcel Levesque).

What unfolds is a marathon of fast paced, whimsical set pieces with brilliant scope and daring experimentation. Showcasing everything from mysterious gothic costuming to one of filmâ(TM)s first buddy action adventures, stunning sets and wild camera work, writer/director Louis Feuilladeâ(TM)s film is a groundbreaking piece that is unconstrained by the conventions of modern cinema.

The most obvious example of this is the format in which it is presented. The ten segments range from 15 to 60 minutes in length, hardly offering the consistency of even a modern mini series, and well beyond the two, or even three hour length of nearly all of todayâ(TM)s longest features.

This inclusion of segments makes it a much less daunting beast to tackle, offering new arcs and small closures to break down the mammoth runtime. The result is surprisingly fast-paced storytelling that is also boosted by the varying lengths of each little arc, which supply a spontaneity and energy void of unwanted filler in the name of uniformity.

The total length allows for thorough, intriguing character developments and the promise that leads can happily switch sides and loyalties throughout, avoiding any explanatory monologues or jumps in logic that might compress such developments.

All in all, itâ(TM)s an epic given in small, elaborate chapters, which is pleasing in its grand effect thanks largely to the buddy film at the heart of the investigation and some stunning, and (from a modern sensibility) wonderfully stylized special effects work.

This is one of the more relatable, timeless, and satisfying silent films Iâ(TM)ve seen, and its constructs and stories are so active even today, that for all its aged aspects it remains relevant. Sure it is long, but as with long airplane rides, properly broken up and mentally prepared for it is quite a treat.

As with most movie marathons I suggest getting into it when youâ(TM)re slightly tired, when the body is happy to rest yet your mind is still ready to take in a story. The finale is fitting and satisfying, and though there are inconsistencies in which serials are best or most prominent, it remains a largely focused, genre-defining trip through early cinematic storytelling, free of a format that has come to define motion pictures and television alike.

It is a great, untarnished reminder of the camera as a tool for telling stories in new and fun ways.