Twins of Evil

Hammer horror movies are, as the kids say, a whole-ass mood. There is really nothing like a Hammer horror picture. They have an aesthetic that combines B-movie schlock a, genuine love of horror, dry-as-a-bone British seriousness, B-movie shlock, and a self-awareness of all of those. Hammer didn't create high art, but they were committed to making the best version of B-level horror movies they could, and I love them for it. They knew what they were and never aimed for a target they couldn't hit, but they were gonna hit the hell out of the target they could. Twins Of Evil is no different. The movie is about, surprise, twin girls who move in with their aunt and uncle in Germany centuries ago. Their uncle is the leader of a group of church-sponsored, Puritanical witch-hunters, which has led to the deaths of many innocent young women. It has not, however, brought justice to Count Karnstein, local nobility who has enjoyed the shelter of the Emperor's favor, despite being a pretty out-and-proud Satanist and overall scumbag. One of the twins becomes infatuated with Karnstein. There are vampires too. Hammer movies are never subtle about anything they do, and Twins Of Evil is no different. Satanic rituals are on full display here. Every woman under the age of 30 is wearing a blouse, dress, or bodice that is clinging on for dear life to keep nipples covered. When there is blood, it is vividly, comically bright red. Twins Of Evil delights in being more than a bit thirsty and exploitative, but not in the same way 80's slashers are. The sexuality on display here is purposeful, not just a means to an end to see boobs. The seductiveness of vampires is a plot point, and sexuality itself becomes something of a wedge between the sisters, as Maria is more reserved and timid while Frieda is more lustful and playful. This also plays into the movie's main theme of extremism; Gustav Weil (played by Peter Cushing) is the leader of the witch-hunting squad, and he is a judgmental extremist. Any woman not wearing a collar that touches her chin is a harlot in his eyes, and likely a witch. He rules his house through violence, intimidation, and loveless discipline. He is morality taken to its worst, the kind that can justify terrible deeds in the name of a higher power if they're the ones doing them. Karnstein and Frieda come to represent the opposite; wanton hedonism, the relentless pursuit of self-gratification at any cost. Caught in the middle are the townsfolk and especially Maria, who wants to protect her sister from a downward spiral, but is too scared to do anything. Fortunately, while these themes are in play in the movie, they're not being used as cudgels to teach the viewer a lesson. You can choose to just view this as a horror period piece about a gang of Van Helsings and enjoy the campy dialogue, set pieces, and scenery chewing. And really, that's all there is to talk about with Twins Of Evil. It's not a movie that warrants deep discussion, because it isn't trying to elicit deep discussion. Sure, it kinda slows down in the middle, and the having the twins be young enough to need guardians but sexualizing Frieda might give some the ick factor, but at least to that second point, it's not as lurid as, say, Sweet Sixteen would be a decade or so later. This was meant to be one half of a drive-in double feature, or as the movie of the week for one of those local horror host shows that air on an indie station at 2:30 in the morning on Saturday. You don't go into this expecting the methodical, atmospheric horror of the Universal monster movies of the 30's and 40's, you don't go in for the non-stop splatter of 80's slashers, and you don't go in for the more thoughtful, measured approach to modern horror. You go into a Hammer horror movie for the kind of experience only a Hammer horror can provide, and Twins Of Evil nails the assignment.