Twins of Evil (1971) is a British horror film directed by John Hough, notable for its blend of gothic elements and supernatural themes. It stars Peter Cushing as Gustav Weil, alongside identical twins Madeleine and Mary Collinson, who play the roles of Maria and Frieda Gelhorn. This film is the third and final installment in the Karnstein Trilogy, which is inspired by the 1872 novella Carmilla by Sheridan Le Fanu, although it diverges significantly from the source material.
The plot is set in the historical backdrop of Styria, where the recently orphaned twin sisters move from Venice to live with their strict Puritan uncle, Gustav Weil. He leads a fanatical group known as the Brotherhood, dedicated to hunting witches and vampires. The twins find themselves caught between their uncle's oppressive beliefs and the seductive allure of Count Karnstein, a local nobleman with a dark reputation for practicing black magic and Satanism. As the story unfolds, Frieda becomes fascinated by the Count, leading her down a path of temptation and evil, while Maria represents innocence and virtue.
The film explores themes of duality and moral conflict through the contrasting personalities of the twins. Frieda's descent into darkness is contrasted with Maria's struggle to maintain her purity amidst the chaos surrounding them. The narrative builds tension as Count Karnstein resurrects the vampiress Mircalla Karnstein, further complicating the sisters' lives and leading to a climactic confrontation between good and evil.
Twins of Evil is characterized by its atmospheric cinematography and haunting score composed by Harry Robinson. It received mixed reviews upon release but has since gained a cult following for its unique take on vampire lore and its striking visual style. The film's portrayal of female sexuality and its commentary on repression resonate with audiences, making it a noteworthy entry in the genre of horror cinema.
Overall, Twins of Evil remains significant not only for its entertainment value but also for its exploration of deeper themes related to morality, temptation, and identity within a horror framework. Its legacy continues to influence contemporary interpretations of vampire mythology in film and literature.