1975年Juan López Moctezuma执导的《玛丽玛丽血玛丽》是一部被低估的哥特式心理惊悚片。 ☁。适合那些喜欢《罗斯玛丽的婴儿》式心理惊悚、愿意琢磨血腥背后孤独感的观众，看完你会忍不住回想：如果欲望来自血液，那“我”还剩下什么？。导演Moctezuma刻意压低叙事节奏，让恐怖感从毛孔里渗出来——你很难忘记Cristina Ferrare那双时而空洞时而燃烧的眼睛，她把一个为生存而杀人的女性吸血鬼演得既脆弱又冷硬；John Carradine饰演的神秘老者每次出现都像一具行走的棺材，台词不多却压得人喘不过气。
玛丽在嗜血本性和求生欲望之间摇摆，却发现自己早已被某种宿命缠住。
如果你喜欢那种聚焦人物心理煎熬、氛围大于剧情推进的70年代心理恐怖片，这部片子会给你一段闷热又不安的体验。
墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。
A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest.
Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time.
Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one.
MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.
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