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Plot: all-girl boarding school in Germany is beset by monstrous assailant

Before Spanish director Amando de Ossorio cemented his cinematic immortality with the lauded Blind Dead franchise, a series of highly atmospheric zombie movies, he was responsible for a number of respectable genre offerings. In 1969 he directed Malenka (released internationally as Fangs Of the Living Dead) and in 1974, just before the directing the final installment of his flagship franchise, he wrote and directed The Loreleys Grasp. Las Garras de Lorelei is an overlooked and little known entry into the director’s modest filmography, and whose other body of work is often ignored in favor of his more known Blind Dead franchise.

Las Garras de Lorelei was distributed internationally, somewhat haphazardly, as The Loreleys Grasp while the Claws of the Loreley is closer to the original Spanish title. In The Loreleys Grasp every fullmoon night Lorelei transforms into her scaly, reptile form, tearing out the hearts of victims, female and male alike. The movie is a delicate balancing act between fast-paced bloody kill scenes and slow-burning, tension building atmospheric sections. It was released in the US as the nonsensically titled When the Screaming Stops that insultingly tried to pass it off as, of all things, a slasher movie. Rising above budgetary limitations and stilted dialog is the likeable cast of Tony Kendall, the delectable duo Helga Liné, and Silvia Tortosa, along with exploitation regulars Luis Barboo, Luis Induni, and Betsabé Ruiz.

Leading man Tony Kendall had starred in a number of Eurocrime, spaghetti westerns and horror movies before appearing in The Loreleys Grasp. Prior to starring in The Loreleys Grasp, Helga Liné was an experienced horror veteran at this point, having starred in Nightmare Castle (1965), Horror Express (1972), León Klimovsky’s The Dracula Saga (1973), and Terence Young’s campy peplum The Amazons (1973). Silvia Tortosa had done mostly TV work before her appearance in Horror Express (1972). Helga Liné, who has the same seductive pale complexion here as she had in the delirious The Dracula Saga, spents much of her screentime in the skimpiest of outfits. Betsabé Ruiz, appearing only in a pre-title cameo as a bride, was in The Wolfman vs the Vampire Woman (1971), Return Of the Blind Dead (1973), Horror Rises From the Tomb (1973), and The Dracula Saga (1973). Many of the shocks, if there are any to be had, come from the economic and efficient practical effects. The scaly monster suit - which bears some resemblance to the Gill-Man from the classic Creature From the Black Lagoon (1954) - is obviously rubbery, but sufficiently scary when obscured in shadow. The head, despite being cloaked, is unintentionally funny-looking and less than monstrous no matter from which angle it is shot. At its core The Loreleys Grasp is more of a tragically romantic love story than a horror, all overlaid with a Germanic folkloric concept.

The Loreleys Grasp is set in an unspecified German town near the Rhine where everybody inexplicably speaks English. Sigurd (Tony Kendall), a hunter described as a man who has “a great deal of experience!”, is set on the case when a young bride-to-be (Betsabé Ruiz) is bloodily killed. In a nearby tavern the Mayor (Luis Induni) tries to keep the story under wraps, while a blind Hungarian violinist (Francisco Nieto) will tell the legend of Lorelei to anybody willing to listen, including the tavern patrons. As these things tend to go none of the murders instigate a police investigation. Nor does the Mayor want any kind of attention from authorities despite the inexplicable nature of the slayings. Teacher Elke Ackerman (Silvia Tortosa), who boarding school director (Josefina Jartin) insists on calling “elle-key” instead of Elke, instructs the ruggedly handsome Sigurd, much to the delight of the assorted students (each a racial stereotype of themselves), to guard the premises.

Sigurd spents much of his time skulking around the boarding school, visibly having a great time at the faculty as he’s flirting with the student body (all of whom have delectable bodies), making a pass on head mistress Elke Ackerman, and throwing longing looks at the enigmatic Lorelei. He, of course, fails to connect the dots when Lorelei mysteriously turns up near bodies of water, and bodies of recently-slaughtered victims. Lorelei, true to her folkloric origins, is a Siren. When he runs into Lorelei again he follows her to a derelict building. There, lying down in a mildly suggestive manner that emphasizes her curves while wearing minimal of fabric, she practically admits, mostly through deflecting answering his questions directly, that she’s the Loreley of legend. Sigurd is either too distracted by her lovely curves, or not the sharpest knife in the drawer, and fails to connect the dots. In the meantime Sigurd has apprehended Professor Von Lander (Ángel Menéndez) who fills him in on the origins and possible ways to defeat the mythological monstrous adversary. Interestingly, Lorelei doesn’t get a name until after claiming her fourth victim.

Once Sigurd has become romantically entangled with both Elke Ackerman and daytime Lorelei, he is motivated to do that what he was actually contracted for. A submarine investigation of a nearby lake leads to the discovery of Loreley’s underground lair. Loreley lives in a well-lit and ornately designed grotto, complete with bikini-clad servants, her trusty man-servant/bodyguard Alberic (Luis Barboo) and an opulent throne room. A nearby chamber holds the Rhinegold, vast treasure from Loreley’s father Wotan. When Sigurd emerges at the grotto’s entrance Alberic intones, “my lady awaits you!”. Three bikini-clad servant girls emerge from shadows closely behind, representing the Rhinemaidens protecting the gold. In the throne room Loreley informs Sigurd of her origins, and tries to sway him with her very skimpy bikini, or by hypnotizing him with a luminescent magic crystal. The intruder is brought deeper into the grotto's bowels, and chained to a wall by Alberic. Once bound Loreley’s three bikini-clad servants fight over who likes Sigurd the most. Their quarreling allows Sigurd ample time to figure out an escape.

Of the two leading ladies Elke Ackerman starts out as a bun-haired, suit-wearing uptight headmistress but as the movie progresses she, quite literally, lets her hair down, as she longingly looks from her bedroom window at Sigurd and starts wandering aimlessly around outside in her nightgown. Ackerman, who in the third act addresses Sigurd as “Sirgurd” for some reason, becomes the requisite damsel-in-distress archetype when she’s abducted by Loreley. Not until it is too late does Sigurd realize that the bodacious Lorelei is the Loreley of folkloric legend. Things get murkier for Sigurd when he discovers that the object of his affection is the very same monstrous threat is he hired to kill. Sigurd is torn between his affection for day-time Loreley, and headmistress Elke Ackerman. Always the pragmatist, Sigurd rescues Elke from Loreley with Professor Von Lander’s dagger. This causes Lorelei to lose her nocturnal monster form. As her spirit form imposes, “we shall meet again in Valhalla! Sigurd, I’ll be waiting!” her corpse dissolves to smoldering remains soon after. With Lorelei waiting for him in the eternal halls of Valhalla, and Elke Ackerman as his present paramour, Sigurd reaps the most benefits of the situation.

Central to The Loreleys Grasp is the Germanic folklore tale Godwi oder Das steinerne Bild der Mutter by Clemens Brentano. In 1824 the tale was reworked as the poem Die Lorelei by Heinrich Heine. It also is influenced by the four-part Richard Wagner opera Der Ring des Nibelungen. Filmed on location in El Carcán, Torrelodones, the river Alberche in Madrid, Spain and in Rhine, Germany The Loreleys Grasp offers atmosphere and spectacle in equal measure. For the time The Loreleys Grasp was suggestive and risqué (it never lowers itself to the sort of tactless smut that comprises much of output from Jesús Franco and Joe D'Amato alike) in its depiction of nudity and violence. Much of the nudity is implied rather than flat-out shown. When nudity does occur directly, it is part of a grotesquely violent and overly bloody kill scene. Like the Blind Dead movies before it The Loreleys Grasp is at strongest when its atmosphere is at its thickest.

Among Spain’s horror directors the work of Amando de Ossorio isn’t quite as unhinged and haphazardly written as some offerings from stalwarts Paul Naschy, or León Klimovsky. Infusing a part of his filmography with mythical properties de Ossorio’s work for the most part tends to be high on atmosphere. What The Loreleys Grasp lacks in practical effects prowess is complemented by its lovely cast, and the somewhat tragic love story at its center. Both leading ladies excel at the parts they are given. Silvia Tortosa was magnificently cast as the initially uptight and demure Elke Ackerman. Helga Liné, in her dual role as the titular character, isn’t given a lot to do early on. Her introduction is only in brief glimpses, and completely bereft of dialog. Once the plot is set up Liné occupies herself by cavorting around lakeside marshes in the skimpiest of bikinis. The Loreleys Grasp is a movie that calls for a certain level of class of its leading man. Tony Kendall, a typical rugged and fearless 1970s man, was cut for the part – as he exudes the same kind of aristocratic sophistication as Ángel del Pozo, Miguel de la Riva, or Bill Curran. There truly is no better place to start exploring the world of Amando de Ossorio than The Loreleys Grasp. It has plenty of atmosphere, a monster, and a lovely cast.

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Gothic metal is a difficult genre to pull off correctly, no matter which subbranch of it a band chooses to specialize in. The genre tends to come in two distinct varieties. The mainstream, less metallic pop brand – of which Nightwish and mid-era Within Temptation are the most identifiable acts, or the introspective, gloomy doom metal subclass which The Gathering, Madder Mortem and Theater Of Tragedy made popular. In Spain the most popular regional gothic metal export is Forever Slave – coincidentally Innerfate consists of past Forever Slave members, plus a ravishing singer by the name of Mara Frischherz. In 2009 they released the four-track promo EP “Unleashed” digitally and have been slowly building an international audience since. How does “Unleashed” stack up against the classics in this genre? Least Worst Option listened and found out.

601595_10151188957908896_544546851_n‘Echoes Of A Dream’ opens the EP with rolling double bass and some surprisingly effective but entirely toothless groove riffs. There are prominent bass guitar runs and the synthesizers accentuate the guitar riffs, while some minor piano notes add some spice. There are some half-hearted shouted grunts, but they never make an appearance outside of this track.  ‘Broken World’ is a semi-ballad that, despite its slower nature, doesn’t venture beyond pop metal territory. Although there’s the obvious framework for a darker, better song that could border on gothic doom territory if the band felt inclined to follow it through. Even with only one guitarist there’s plenty of directions the band could take its sound. The synthesizer and piano are simply amazing and actually hint to a more introspective, doomier direction – the rest of the band is content to just chug and play a thinly-veiled pop song, even though the solo hints at something altogether more darker, something more ambitious than this pop drivel.

‘Circles Of Despair’, the single of this EP, is the heaviest song on “Unleashed” and the central riff that drives the song forward is surprisingly effective. The synthesizer and piano, when they are allowed to appear, enhance the track towards something gloomier and darker. The guitar work for the most part consists of listless chugging and indistinct groove riffs. Like the opening track the drums are the most interesting part of the song, outside of Mara’s sparkling vocals. The solo is done well, and pushes the song towards its conclusion, which is based around Mara’s multi-layered vocals. If the band would slow down a bit, give the keyboards and drums some more space and crank up the guitars and bass – they could, at least theoretically, come close to “Mandylion” era The Gathering territory. That is, if they ever stopped trying so hard to be a pop band, and embraced the introspective and darker segment of the gothic metal genre.

271009_10151188859408896_198511711_nOne but last track ‘What Have I…’ does that, and it is surprisingly effective for what it is. The track in itself isn’t radically different from the other three, except that it is the less outright poppy one of the bunch. In regards to instrumentation there isn’t a big difference, but the writing is so different that there’s no other way that is must stand out. ‘Inner Battlefield’ opens with a similar riff to that of ‘Echoes Of A Dream’ and has architectural commonalities with ‘Circles Of Despair’. In fact, both tracks are more than superficially similar – the single is more dynamically richer, whereas this track plays a bit with electronics and is, once again, more pop oriented. The great sounding and far more technical lead towards the track’s conclusion hints at something better. Innerfate sounds as a band in two minds, not being able to decide which course to take. It is obvious that the band’s more technical, introspective and darker material is its best. One can only hope that Innerfate realizes this, and has written new material in this direction.

The production is typical for a self-produced act and typical for the genre in a number of ways. For starters, the drums sound almost programmed although they clearly were recorded by the drummer of the band. They sound thin, powerless and plastic – not that gothic metal is percussion-oriented per se, but even for a more mainstream focused act like this they sound sterile, flat and lifeless. The rhythm and lead guitar has a good tone, not a particularly crunchy or concrete one, but it is passable. The tone isn’t nearly as thick as on The Gathering’s “Mandylion” or Epica’s “The Phantom Agony”, but at least Innerfate knows that it is a metal band. The bass guitar can thankfully be heard. A lot of resources were spent on vocal production, and this only benefits Mara. If anything the production in general is focused around Frischherz’ vocals, which is a good thing because Innerfate don’t do anything out of the ordinary on this little promo EP.

Innerfate isn’t the band to change the face of gothic metal, as what they do currently is too inconsequential and commonplace to be of any real merit. As the slower and more introspective tracks of this EP suggest the band would be better off to embrace the more ponderous and darker segments of the genre, as iconic bands as Theater Of Tragedy paved the way for almost two decades prior. For one it would also be beneficial for Innerfate to let go of their pop/rock aspirations and embrace its metaldom fully. They have it in them to write something on par with The Gathering’s signature song ‘Strange Machines’, but as of now it is wrapped in lowest common denominator pandering and aping Lacuna Coil’s earlier, more metallic repertoire in a misguided attempt at possible mainstream acceptance. Since that is more the exception than the rule, here’s hoping that Innerfate decides to go into a more gloomier, heavier and overall darker territory with its music, as long as Mara keeps fronting the band they can write whatever they want in that genre.

She truly is the identifier and the ultimate strength of the band.