The haunting visages of the women create a prolonged, underlying sense of unease. The dead-eyes of dolls, the smoky complexions of burned or disfigured women. These images linger and fester just beneath the surface even when they’re not on screen. The psychological horror of Mill of the Stone Women isn’t easily put into words — but it is effective, often more so than the Hammer films which it is clearly emulating.
The non-existent narrative of The Velvet Vampire benefits the more European aspects of the production. The story provides the blank canvas for striking imagery and hypnotic dream sequences. Celeste Yarnall makes the most of this space and all but consummates her love affair with the entranced viewer.
Lavond’s plan is thus: Dress as an old woman who makes dolls. The She-Barrymore sends these little 1/6th doll people out to kill his enemies and ultimately clear his name. Of course once he clears his name, he’s got that whole weird crossdressing dollmaker thing to explain, but maybe we’ll cross that bridge when we come to it. Or maybe not.