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By the end of the ‘80s, European horror was struggling to hold its place in the international market. North American slashers were already dying out, to say nothing of the pre-slasher Italian gialli that Spanish filmmakers had been mimicking since the ‘70s. Following this downturn, Simón himself was among the region’s genre filmmaking leaders with goofball creature features Slugs (Spanish: Slugs, Muerte Viscosa, 1988) and The Rift (Spanish: La Grieta, 1990), after which a new guard took over and brought “prestige” to Spanish horror. But, before that brief period when Simón’s brand of lovable rubbish made its impact, Spain’s genre output was (similar to Italy) a healthy combination of Saturday morning serial-type throwbacks, sexploitation, thoughtful, adult-aimed stories, and arthouse horror. Director José Ramón Larraz’ movies sat right at the crossroads between each of these styles. Larraz’ work as a genre director began when he helmed a series of violent, Pete Walker-esque British thrillers, including The House That Vanished (aka: Scream. and Die! and Please! Don't Go in the Bedroom, 1973) and Symptoms (also released as The Blood Virgin, 1974). The combination of sex, violence, and artsy ambiguity he developed was exemplified by his sapphic bloodsucker opus, Vampyres (1974), which remains his signature film. Larraz had made the two movies under a pseudonym (Joseph Braunsteinn) and his champions tend to ignore them (authors Cathal Tohill & Pete Tombs devote a couple of sentences to them in Immoral Tales: European Sex & Horror Movies 1956–1984 after devoting several pages to the rest of his filmography).įollowing Vampyres, he returned to Spain and broadened his genre scope with respectable melo/psychodramas, like El mirón (Spanish: The Voyeur, 1977), artful softcore, like The Coming of Sin (Spanish: La visita del vicio, 1978), and horror comedies, like The National Mummy (Spanish: La momia nacional, 1981), but, following a bit of a lull (and a TV miniseries covering the life of Goya in 1985), the market had turned towards Juan Piquer Simón’s brand of schlock, leading to the production of two gory, straight-to-video, American co-productions: Rest in Pieces (Spanish: Descanse en piezas, 1987) and Edge of the Axe (Spanish: Al Filo del Hacha, 1988).

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