| Ingrid Pitt | ... | Marcilla / Carmilla / Mircalla Karnstein | |
| George Cole | ... | Roger Morton | |
| Kate O'Mara | ... | The Governess (Mme. Perrodot) | |
| Peter Cushing | ... | General von Spielsdorf | |
| Ferdy Mayne | ... | Doctor | |
| Douglas Wilmer | ... | Baron Joachim von Hartog | |
| Madeline Smith | ... | Emma Morton | |
| Dawn Addams | ... | The Countess | |
| Jon Finch | ... | Carl Ebhardt | |
| Pippa Steel | ... | Laura (as Pippa Steele) | |
| Kirsten Lindholm | ... | 1st Vampire (as Kirsten Betts) | |
| Janet Key | ... | Gretchin | |
| Harvey Hall | ... | Renton | |
| John Forbes-Robertson | ... | Man in Black | |
| Charles Farrell | ... | Landlord | |
| Shelagh Wilcocks | ... | Housekeeper | |
| Graham James | ... | 1st Young Man | |
| Tom Browne | ... | 2nd Young Man | |
| Joanna Shelley | ... | Woodman's Daughter | |
| Olga James | ... | Village Girl | |
| rest of cast listed alphabetically: | |||
| Jill Easter | ... | Woodmans Wife (uncredited) | |
| Lindsay Kemp | ... | Jester (uncredited) | |
| Sion Probert | ... | Young Man In Tavern (uncredited) | |
| Vicki Woolf | ... | Landlords Daughter (uncredited) | |
Directed by | |||
| Roy Ward Baker | |||
Writing credits | ||
| Sheridan Le Fanu | (story "Carmilla") | |
| Harry Fine | (adaptation) and | |
| Tudor Gates | (adaptation) and | |
| Michael Style | (adaptation) | |
| Tudor Gates | (screenplay) | |
Produced by | |||
| Harry Fine | .... | producer | |
| Michael Style | .... | producer | |
| Louis M. Heyward | .... | associate producer (uncredited) | |
Original Music by | |||
| Harry Robertson | (as Harry Robinson) | ||
Cinematography by | |||
| Moray Grant | |||
Film Editing by | |||
| James Needs | |||
Art Direction by | |||
| Scott MacGregor | |||
Costume Design by | |||
| Brian Cox | |||
Makeup Department | |||
| Tom Smith | .... | makeup supervisor | |
| Pearl Tipaldi | .... | hair stylist | |
Production Management | |||
| Tom Sachs | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Derek Whitehurst | .... | assistant director | |
Art Department | |||
| Bill Greene | .... | construction manager | |
| Michael Finlay | .... | painter (uncredited) | |
Sound Department | |||
| Claude Hitchcock | .... | sound recordist | |
| Roy Hyde | .... | sound editor | |
| Tony Lumkin | .... | recording director | |
| Dennis Whitlock | .... | dubbing mixer | |
Camera and Electrical Department | |||
| Neil Binney | .... | camera operator | |
| Bob Jordan | .... | focus puller (uncredited) | |
Costume and Wardrobe Department | |||
| Laura Nightingale | .... | wardrobe mistress | |
Music Department | |||
| Philip Martell | .... | music supervisor | |
Other crew | |||
| Betty Harley | .... | continuity | |
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| Dracula | Rivelazioni di un maniaco sessuale al capo della squadra mobile | Interview with the Vampire: The Vampire Chronicles | Love in the Time of Cholera | Les enfants du siècle |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb UK section |
An ocean of mist hangs above a grave. A figure enveloped in a white shroud swirls through that mist with balletic grace, then rakes a hand across a bloody mouth.* A man at his niece's deathbed calls for her missing friend. The call echoes through the empty chambers of the house and down the terrace outside, where the wind blows fallen leaves through the autumn night. The calls merge with older echoes in a cemetery beneath a ruined castle. A woman walks in those mists, clad in her nightgown. The mists dissolve her from sight. * "I want you - to love me - for all your life," pleads a beautiful vampire turning from the view through a moonlit window to clasp the girl she loves with desperate intimacy. * That same vampire woman stands on a terrace in the sunset, tears glinting in her eyes while she listens to the ancestral echoes that condemn her to her fate. *
Yes, this is pure Hammer Horror: a work conceived as sheerest exploitation which somehow transforms itself - in its greatest moments anyway - to an authentic romantic poetry. Yes, of course, a lesbian vampire movie made by men may seem the height of sexism, and at a conceptual level the movie may be open to those charges. But a female gothic artist was involved here: Ingrid Pitt, whose Carmilla is such a vivid presence as to render herself the character we root for and her patriachal enemies as the true pale-faced monsters (Has Peter Cushing ever come across as less loveable?). Other screen vampiresses are bimbos or boogeywomen or upmarket fashion plates by comparison: Pitt is tigerish, witty, tender, passionate, vulnerable, savage and tragic: Perhaps the only actor, male or female, who has brought to full life all the complexities of the vampire psyche. She's great and the other film-makers, at their best, rise to the challenge she sets. The movie is hardly unflawed but when its accidental poetry gels, few movies in its genre can surpass it.